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"content": "\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>[aside postid='arts_13828289']In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gmmq7sVA0Jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>[aside postid='pop_11491']But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kids Really Can Change the World — Just Ask ‘Pinocchio’ and ‘Matilda’",
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"content": "\u003cp>The young heroes of Carlo Collodi’s classic fantasy \u003cem>Pinocchio\u003c/em> and Roald Dahl’s 1988 children’s novel \u003cem>Matilda\u003c/em> may not seem too alike at first: One is a wooden puppet who becomes a real boy and finds he has a lot to learn, while the other is a real girl of such extraordinary brainpower that she winds up schooling everyone else. But in their own ways, they’re both about a child’s extraordinary power to change the world — a lesson that stays winningly intact in two new screen adaptations, both arriving on Netflix this month.\u003c/p>\n\u003cp>[aside postid='arts_13922425']\u003cem>Guillermo del Toro’s Pinocchio\u003c/em>, as its title announces, is very much the work of the dark fantasist who made \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10266161\">Pan’s Labyrinth\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/01/567265511/guillermo-del-toro-says-shape-of-water-is-an-antidote-for-today-s-cynicism\">The Shape of Water.\u003c/a> That’s not to say it’s too scary for children, only that its mix of visual richness and ghoulish whimsy would be hard to mistake for another filmmaker’s work. In this telling, the aging Italian woodcarver Geppetto has a young son who’s killed by a falling missile during World War I. Many years later, Geppetto, still distraught, chops down a pine tree in a drunken rage and carves a little puppet boy out of it, as if he could somehow bring his son back. And so this Pinocchio, forged in grief, springs to life not as a joyous creation, but as a sorry replacement for Geppetto’s lost son. That gives Pinocchio’s mischievous, defiant behavior an extra emotional edge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Od2NW1sfRdA\u003c/p>\n\u003cp>Del Toro, who directed the movie with Mark Gustafson, has also darkened the story in other ways. This Pinocchio, who’s voiced by Gregory Mann, dies on multiple occasions and is magically resurrected each time. World War II also looms in the background, and Pinocchio will soon come face-to-face with Mussolini himself. It’s not the first time Del Toro has blended history and fantasy, pitting his young characters against the forces of Fascism.\u003c/p>\n\u003cp>It is, however, the first time he’s made a feature entirely in stop-motion animation, and the hand-crafted, herky-jerky images are a wonder to behold. The backdrops are exquisite, and I loved the intricate non-human character designs for a benevolent woodland sprite, voiced by Tilda Swinton, and for Sebastian J. Cricket, a kind of Jiminy-like sidekick voiced by Ewan McGregor. Still, for all its overflowing invention, this \u003cem>Pinocchio\u003c/em>, like a lot of Del Toro movies, could’ve been tighter and more disciplined. I’m also not sure why the movie had to be a musical, given how unmemorable most of the songs are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, the songs in the new movie \u003cem>Roald Dahl’s Matilda the Musical\u003c/em> are as terrific as they were when I heard them \u003ca href=\"https://www.npr.org/2013/04/11/176704420/matilda-brings-beloved-book-to-broadway\">performed on Broadway\u003c/a> years ago. The movie is an extremely faithful adaptation of that hugely popular show. It tells the story of Matilda Wormwood, a child prodigy who’s already reading Dickens and Dostoevsky by age 6.\u003c/p>\n\u003cp>[aside postid='arts_13891275']Much of the pleasure of the story comes from watching Matilda — the winning Alisha Weir — get revenge on her foolish, vulgar and generally indifferent parents whenever they treat her badly, which is often. But Matilda will soon have bigger fish to fry in the form of Miss Trunchbull, the sadistic headmistress at her school, who terrifies her students and calls them “maggots.” In one showstopping number, Matilda’s fellow students manage to overcome their fears and rise up, declaring their right to be, as they call themselves, “Revolting Children.”\u003c/p>\n\u003cp>Miss Trunchbull is played, with the help of a fatsuit and facial prosthetics, by Emma Thompson, and she’s a memorable monster, subjecting her students to all kinds of cruel mind games and baroque forms of corporal punishment. It’s fun watching Matilda outwit her, while also bonding with her kind-hearted teacher, Miss Honey — a very moving Lashana Lynch.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzKASl2T9d0\u003c/p>\n\u003cp>The movie retains the show’s central creative trio: the director Matthew Warchus, the writer Dennis Kelly and the composer-lyricist Tim Minchin. That’s mostly a good thing, even if the movie’s relentless high spirits and bright, bouncy colors tend to overpower the darker vibes of the original story. There are also elements here that simply don’t work as well onscreen as they did onstage, including a subplot that takes place within Matilda’s own imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I have to say, though, that my 6-year-old screening companion didn’t mind in the slightest: I looked over every so often to find her laughing at the jokes, covering her eyes at the scary parts and bopping along to the music. She was completely transported — and so, in those moments, was I.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kids+really+can+change+the+world+%E2%80%94+just+ask+%27Pinocchio%27+and+%27Matilda%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The young heroes of Carlo Collodi’s classic fantasy \u003cem>Pinocchio\u003c/em> and Roald Dahl’s 1988 children’s novel \u003cem>Matilda\u003c/em> may not seem too alike at first: One is a wooden puppet who becomes a real boy and finds he has a lot to learn, while the other is a real girl of such extraordinary brainpower that she winds up schooling everyone else. But in their own ways, they’re both about a child’s extraordinary power to change the world — a lesson that stays winningly intact in two new screen adaptations, both arriving on Netflix this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Guillermo del Toro’s Pinocchio\u003c/em>, as its title announces, is very much the work of the dark fantasist who made \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10266161\">Pan’s Labyrinth\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/01/567265511/guillermo-del-toro-says-shape-of-water-is-an-antidote-for-today-s-cynicism\">The Shape of Water.\u003c/a> That’s not to say it’s too scary for children, only that its mix of visual richness and ghoulish whimsy would be hard to mistake for another filmmaker’s work. In this telling, the aging Italian woodcarver Geppetto has a young son who’s killed by a falling missile during World War I. Many years later, Geppetto, still distraught, chops down a pine tree in a drunken rage and carves a little puppet boy out of it, as if he could somehow bring his son back. And so this Pinocchio, forged in grief, springs to life not as a joyous creation, but as a sorry replacement for Geppetto’s lost son. That gives Pinocchio’s mischievous, defiant behavior an extra emotional edge.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Od2NW1sfRdA'\n title='//www.youtube.com/embed/Od2NW1sfRdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Del Toro, who directed the movie with Mark Gustafson, has also darkened the story in other ways. This Pinocchio, who’s voiced by Gregory Mann, dies on multiple occasions and is magically resurrected each time. World War II also looms in the background, and Pinocchio will soon come face-to-face with Mussolini himself. It’s not the first time Del Toro has blended history and fantasy, pitting his young characters against the forces of Fascism.\u003c/p>\n\u003cp>It is, however, the first time he’s made a feature entirely in stop-motion animation, and the hand-crafted, herky-jerky images are a wonder to behold. The backdrops are exquisite, and I loved the intricate non-human character designs for a benevolent woodland sprite, voiced by Tilda Swinton, and for Sebastian J. Cricket, a kind of Jiminy-like sidekick voiced by Ewan McGregor. Still, for all its overflowing invention, this \u003cem>Pinocchio\u003c/em>, like a lot of Del Toro movies, could’ve been tighter and more disciplined. I’m also not sure why the movie had to be a musical, given how unmemorable most of the songs are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, the songs in the new movie \u003cem>Roald Dahl’s Matilda the Musical\u003c/em> are as terrific as they were when I heard them \u003ca href=\"https://www.npr.org/2013/04/11/176704420/matilda-brings-beloved-book-to-broadway\">performed on Broadway\u003c/a> years ago. The movie is an extremely faithful adaptation of that hugely popular show. It tells the story of Matilda Wormwood, a child prodigy who’s already reading Dickens and Dostoevsky by age 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of the pleasure of the story comes from watching Matilda — the winning Alisha Weir — get revenge on her foolish, vulgar and generally indifferent parents whenever they treat her badly, which is often. But Matilda will soon have bigger fish to fry in the form of Miss Trunchbull, the sadistic headmistress at her school, who terrifies her students and calls them “maggots.” In one showstopping number, Matilda’s fellow students manage to overcome their fears and rise up, declaring their right to be, as they call themselves, “Revolting Children.”\u003c/p>\n\u003cp>Miss Trunchbull is played, with the help of a fatsuit and facial prosthetics, by Emma Thompson, and she’s a memorable monster, subjecting her students to all kinds of cruel mind games and baroque forms of corporal punishment. It’s fun watching Matilda outwit her, while also bonding with her kind-hearted teacher, Miss Honey — a very moving Lashana Lynch.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EzKASl2T9d0'\n title='//www.youtube.com/embed/EzKASl2T9d0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie retains the show’s central creative trio: the director Matthew Warchus, the writer Dennis Kelly and the composer-lyricist Tim Minchin. That’s mostly a good thing, even if the movie’s relentless high spirits and bright, bouncy colors tend to overpower the darker vibes of the original story. There are also elements here that simply don’t work as well onscreen as they did onstage, including a subplot that takes place within Matilda’s own imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I have to say, though, that my 6-year-old screening companion didn’t mind in the slightest: I looked over every so often to find her laughing at the jokes, covering her eyes at the scary parts and bopping along to the music. She was completely transported — and so, in those moments, was I.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kids+really+can+change+the+world+%E2%80%94+just+ask+%27Pinocchio%27+and+%27Matilda%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tilda Swinton Stars Twice in ‘The Eternal Daughter’ — As Both Parent and Child",
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"content": "\u003cp>I have to admit that when I heard Tilda Swinton would be playing two roles in \u003cem>The Eternal Daughter\u003c/em>, my immediate reaction was something like, “What else is new?” Swinton is a marvelous actor and a gifted multitasker. Maybe you remember her playing twin sisters in\u003ca href=\"https://www.npr.org/2016/02/04/465312506/hail-caesar-will-make-you-miss-movies-with-exclamation-points\"> \u003cem>Hail, Caesar!\u003c/em>\u003c/a> or \u003ca href=\"https://www.npr.org/2017/06/29/533973063/bong-joon-hos-okja-is-as-weird-a-hybrid-as-its-porcine-star\">\u003cem>Okja\u003c/em>\u003c/a>, or taking on three different roles in the recent remake of \u003ca href=\"https://www.npr.org/2018/10/26/658858340/suspiria-a-cult-horror-remake-dances-to-a-confusing-beat\">\u003cem>Suspiria\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13921562']But \u003cem>The Eternal Daughter\u003c/em>, the latest movie written and directed by Joanna Hogg, might be the most effective and moving casting stunt of Swinton’s career. She plays a filmmaker, Julie, and her mother, Rosalind, who have come to stay at a remote Welsh hotel for a few days before Christmas. They’ve booked a double room for themselves and Rosalind’s dog, Louis, played by one of Swinton’s own spaniels. That’s about it for the cast, save a few members of the hotel staff, including an amusingly snippy receptionist played by Carly-Sophia Davies. It doesn’t appear there are any other guests.\u003c/p>\n\u003cp>While it unfolds at a measured pace, \u003cem>The Eternal Daughter\u003c/em> is immediately gripping. Hogg has structured the movie as a kind of ghost story, and she’s clearly having fun with the conventions of the genre. The hotel is a marvelously creaky old estate in the middle of nowhere, shrouded in mists and moonlight. Strange noises disturb Julie’s sleep at night, and at one point, someone — it’s not clear who — opens the door to their room and Louis gets out. Don’t worry, this isn’t one of those slasher movies where the family pet winds up dead. Hogg isn’t \u003cem>really\u003c/em> trying to scare us. But she has a wonderful feel for gothic atmosphere, something she heightens by shooting on 16mm film and playing eerie flute music during Julie’s walks on the hotel grounds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5hJR8hEsLZU\u003c/p>\n\u003cp>All in all, the movie is a splendid reminder of how much magic a smart, subtle filmmaker can conjure without a massive visual-effects budget. And the most magical thing about it is Swinton’s double casting. Hogg shrewdly downplays her own gimmick. She rarely places Julie and Rosalind in the same frame, instead cutting between them during their many conversations. That must have made shooting less expensive, with minimal need for body doubles or digital trickery. The back-and-forth editing style also works well for the script, given that this mother and daughter tend to speak in polite, hesitant tones; rarely do they step on each other’s sentences. They clearly love and dote on each other — Julie, full of warmth and vigor, takes good care of Rosalind, who tires easily and isn’t in the best of health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there’s also a darker undertow to their relationship that gradually comes into focus. We learn that Rosalind was sent to stay at this place years ago during World War II, when she was still a child. She has some happy memories of her time here, but also a lot of traumatic ones — and Julie, we realize, wants to mine those memories for a future film project.\u003c/p>\n\u003cp>[aside postid='arts_13922080']Here’s where things get complicated, since Julie is an alter ego for Joanna Hogg herself, and Rosalind is a stand-in for her own mother. This isn’t the first of Hogg’s movies to draw on her family life — I loved her two \u003cem>Souvenir\u003c/em> films, about her early years as a student filmmaker in the 1980s. But \u003cem>The Eternal Daughter\u003c/em>, set closer to the present day, is a different kind of cinematic memoir — more playful, and more mysterious. In reminiscing about her own relationship with her mother, Hogg raises all kinds of ideas about grief, loss and memory. She’s also questioning herself: Does she have any right to probe her mother’s personal history for her own artistic inspiration?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I don’t know the answer, and I don’t know if Hogg does, either. But I’m grateful to have spent time with these two characters and the great actor who plays them. Swinton’s casting isn’t just a stunt; it brilliantly conveys the uncomfortable transference of identity that often happens between mothers and daughters. At the same time, when they communicate, Julie and Rosalind show a certain reserve, shying away from confrontation or even emotion. But the shattering climax of \u003cem>The Eternal Daughter\u003c/em> is nothing if not emotional. It leaves us with the intriguing notion that maybe all love stories are ghost stories, to the degree that we’re all haunted, in some way, by the memories of those we love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tilda+Swinton+stars+twice+in+%27The+Eternal+Daughter%27+%E2%80%94+as+both+parent+and+child&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I have to admit that when I heard Tilda Swinton would be playing two roles in \u003cem>The Eternal Daughter\u003c/em>, my immediate reaction was something like, “What else is new?” Swinton is a marvelous actor and a gifted multitasker. Maybe you remember her playing twin sisters in\u003ca href=\"https://www.npr.org/2016/02/04/465312506/hail-caesar-will-make-you-miss-movies-with-exclamation-points\"> \u003cem>Hail, Caesar!\u003c/em>\u003c/a> or \u003ca href=\"https://www.npr.org/2017/06/29/533973063/bong-joon-hos-okja-is-as-weird-a-hybrid-as-its-porcine-star\">\u003cem>Okja\u003c/em>\u003c/a>, or taking on three different roles in the recent remake of \u003ca href=\"https://www.npr.org/2018/10/26/658858340/suspiria-a-cult-horror-remake-dances-to-a-confusing-beat\">\u003cem>Suspiria\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>The Eternal Daughter\u003c/em>, the latest movie written and directed by Joanna Hogg, might be the most effective and moving casting stunt of Swinton’s career. She plays a filmmaker, Julie, and her mother, Rosalind, who have come to stay at a remote Welsh hotel for a few days before Christmas. They’ve booked a double room for themselves and Rosalind’s dog, Louis, played by one of Swinton’s own spaniels. That’s about it for the cast, save a few members of the hotel staff, including an amusingly snippy receptionist played by Carly-Sophia Davies. It doesn’t appear there are any other guests.\u003c/p>\n\u003cp>While it unfolds at a measured pace, \u003cem>The Eternal Daughter\u003c/em> is immediately gripping. Hogg has structured the movie as a kind of ghost story, and she’s clearly having fun with the conventions of the genre. The hotel is a marvelously creaky old estate in the middle of nowhere, shrouded in mists and moonlight. Strange noises disturb Julie’s sleep at night, and at one point, someone — it’s not clear who — opens the door to their room and Louis gets out. Don’t worry, this isn’t one of those slasher movies where the family pet winds up dead. Hogg isn’t \u003cem>really\u003c/em> trying to scare us. But she has a wonderful feel for gothic atmosphere, something she heightens by shooting on 16mm film and playing eerie flute music during Julie’s walks on the hotel grounds.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5hJR8hEsLZU'\n title='//www.youtube.com/embed/5hJR8hEsLZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All in all, the movie is a splendid reminder of how much magic a smart, subtle filmmaker can conjure without a massive visual-effects budget. And the most magical thing about it is Swinton’s double casting. Hogg shrewdly downplays her own gimmick. She rarely places Julie and Rosalind in the same frame, instead cutting between them during their many conversations. That must have made shooting less expensive, with minimal need for body doubles or digital trickery. The back-and-forth editing style also works well for the script, given that this mother and daughter tend to speak in polite, hesitant tones; rarely do they step on each other’s sentences. They clearly love and dote on each other — Julie, full of warmth and vigor, takes good care of Rosalind, who tires easily and isn’t in the best of health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there’s also a darker undertow to their relationship that gradually comes into focus. We learn that Rosalind was sent to stay at this place years ago during World War II, when she was still a child. She has some happy memories of her time here, but also a lot of traumatic ones — and Julie, we realize, wants to mine those memories for a future film project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here’s where things get complicated, since Julie is an alter ego for Joanna Hogg herself, and Rosalind is a stand-in for her own mother. This isn’t the first of Hogg’s movies to draw on her family life — I loved her two \u003cem>Souvenir\u003c/em> films, about her early years as a student filmmaker in the 1980s. But \u003cem>The Eternal Daughter\u003c/em>, set closer to the present day, is a different kind of cinematic memoir — more playful, and more mysterious. In reminiscing about her own relationship with her mother, Hogg raises all kinds of ideas about grief, loss and memory. She’s also questioning herself: Does she have any right to probe her mother’s personal history for her own artistic inspiration?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I don’t know the answer, and I don’t know if Hogg does, either. But I’m grateful to have spent time with these two characters and the great actor who plays them. Swinton’s casting isn’t just a stunt; it brilliantly conveys the uncomfortable transference of identity that often happens between mothers and daughters. At the same time, when they communicate, Julie and Rosalind show a certain reserve, shying away from confrontation or even emotion. But the shattering climax of \u003cem>The Eternal Daughter\u003c/em> is nothing if not emotional. It leaves us with the intriguing notion that maybe all love stories are ghost stories, to the degree that we’re all haunted, in some way, by the memories of those we love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tilda+Swinton+stars+twice+in+%27The+Eternal+Daughter%27+%E2%80%94+as+both+parent+and+child&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ve always felt there’s something a bit too self-conscious about movies that are explicitly about the magic of storytelling. Really, the best way to pay tribute to storytelling is to simply tell a good story, not rattle on and on about how timeless stories are. That may explain why I felt both mildly charmed and a little worn out by the new movie \u003cem>Three Thousand Years of Longing\u003c/em>.\u003c/p>\n\u003cp>It’s adapted from a short story by the English writer A.S. Byatt, and much of it unfolds in an Istanbul hotel room where Idris Elba, taking a page from \u003ca href=\"https://en.wikipedia.org/wiki/Scheherazade\" target=\"_blank\" rel=\"noopener noreferrer\">Scheherazade and her \u003cem>One Thousand and One Nights\u003c/em>\u003c/a>, regales Tilda Swinton with one fantastical tale after another. Some of these tales are vivid and involving, but what they add up to is less than the sum of its many shimmering parts.\u003c/p>\n\u003cp>[aside postid='arts_13918047']Even still, the movie has its undeniable pleasures. The Australian director George Miller might be best known for his thrilling \u003cem>Mad Max\u003c/em> series, but he’s always had a flair for fantasy, as he’s shown in marvelously inventive films like \u003cem>Babe: Pig in the City\u003c/em> and \u003cem>Happy Feet\u003c/em>. In \u003cem>Three Thousand Years of Longing\u003c/em>, which he co-wrote with his daughter, Augusta Gore, Miller unveils an outlandish premise with a sly wit that’s initially hard to resist.\u003c/p>\n\u003cp>Tilda Swinton plays Alithea Binney, a modern-day literary scholar who specializes in the study of narratives, the way the same tropes and symbols tend to pop up in stories from different cultures and eras. While attending a conference in Istanbul, Alithea goes shopping in the bazaar and purchases a small glass bottle as a memento.\u003c/p>\n\u003cp>Later, while she’s cleaning the bottle in her hotel room, out in a burst of smoke pops an enormous Djinn, played by Elba. After some amusing awkwardness—how would \u003cem>you \u003c/em>react if confronted by a giant otherworldly intruder with hairy blue legs and pointy ears?—the two settle into a long, heady and whimsical conversation. Also, they’re both wearing those plush white hotel bathrobes, in the movie’s most charming visual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>The Djinn tells Alithea that he was trapped in the bottle roughly three millennia ago by King Solomon. The only way for him to be freed is to grant three wishes to any human who possesses the bottle. You’d think that Alithea would jump at the chance, but being an expert on stories, she knows that wishes have a way of backfiring. And so she refuses to play along.\u003c/p>\n\u003cp>Alithea has long seemed content with her solitary existence. She was married once but now has no family, and books have provided the only companionship she needs. But as she talks to the Djinn, her long-forgotten desires for love and connection begin to surface. The movie’s point seems to be that these desires, or longings, lie at the heart of every great story.\u003c/p>\n\u003cp>[aside postid='arts_13917597']The Djinn knows this firsthand: He tells Alithea about all the women he’s fallen for over the centuries, starting with his first great love, the Queen of Sheba. More recently, his bottle fell into the hands of a brilliant 19th-century woman who used her wishes not to acquire power or riches, but rather to gain more knowledge about the world. Their love burned bright for a spell but ended, like the others, in tragedy. This is why the Djinn has never been able to break free; his love for the humans who command him proves his undoing.\u003c/p>\n\u003cp>Miller dramatizes those stories in vibrant flashbacks decorated with all manner of ornate visual effects; sometimes the results can be garish, but sometimes they’re genuinely entrancing. At their best, the Djinn’s stories achieve the quality of a great page-turner. But the movie becomes less effective as it raises the possibility of romance between Alithea and the Djinn. Swinton and Elba are both superb and have a sweet, touching chemistry, but they never forge the kind of bond that feels passionate enough to transcend time and space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie tosses off some fascinating ideas in the closing stretch, including the way a Djinn might feel redundant in a world where technology has become its own modern-day magic. But \u003cem>Three Thousand Years of Longing \u003c/em>ends on a muted, uncertain note. It left me faintly curious about what might happen next, which is not quite the same thing as wanting more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Three+Thousand+Years+of+Longing%27+will+leave+you+charmed+%E2%80%94+and+a+little+worn+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve always felt there’s something a bit too self-conscious about movies that are explicitly about the magic of storytelling. Really, the best way to pay tribute to storytelling is to simply tell a good story, not rattle on and on about how timeless stories are. That may explain why I felt both mildly charmed and a little worn out by the new movie \u003cem>Three Thousand Years of Longing\u003c/em>.\u003c/p>\n\u003cp>It’s adapted from a short story by the English writer A.S. Byatt, and much of it unfolds in an Istanbul hotel room where Idris Elba, taking a page from \u003ca href=\"https://en.wikipedia.org/wiki/Scheherazade\" target=\"_blank\" rel=\"noopener noreferrer\">Scheherazade and her \u003cem>One Thousand and One Nights\u003c/em>\u003c/a>, regales Tilda Swinton with one fantastical tale after another. Some of these tales are vivid and involving, but what they add up to is less than the sum of its many shimmering parts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even still, the movie has its undeniable pleasures. The Australian director George Miller might be best known for his thrilling \u003cem>Mad Max\u003c/em> series, but he’s always had a flair for fantasy, as he’s shown in marvelously inventive films like \u003cem>Babe: Pig in the City\u003c/em> and \u003cem>Happy Feet\u003c/em>. In \u003cem>Three Thousand Years of Longing\u003c/em>, which he co-wrote with his daughter, Augusta Gore, Miller unveils an outlandish premise with a sly wit that’s initially hard to resist.\u003c/p>\n\u003cp>Tilda Swinton plays Alithea Binney, a modern-day literary scholar who specializes in the study of narratives, the way the same tropes and symbols tend to pop up in stories from different cultures and eras. While attending a conference in Istanbul, Alithea goes shopping in the bazaar and purchases a small glass bottle as a memento.\u003c/p>\n\u003cp>Later, while she’s cleaning the bottle in her hotel room, out in a burst of smoke pops an enormous Djinn, played by Elba. After some amusing awkwardness—how would \u003cem>you \u003c/em>react if confronted by a giant otherworldly intruder with hairy blue legs and pointy ears?—the two settle into a long, heady and whimsical conversation. Also, they’re both wearing those plush white hotel bathrobes, in the movie’s most charming visual.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Djinn knows this firsthand: He tells Alithea about all the women he’s fallen for over the centuries, starting with his first great love, the Queen of Sheba. More recently, his bottle fell into the hands of a brilliant 19th-century woman who used her wishes not to acquire power or riches, but rather to gain more knowledge about the world. Their love burned bright for a spell but ended, like the others, in tragedy. This is why the Djinn has never been able to break free; his love for the humans who command him proves his undoing.\u003c/p>\n\u003cp>Miller dramatizes those stories in vibrant flashbacks decorated with all manner of ornate visual effects; sometimes the results can be garish, but sometimes they’re genuinely entrancing. At their best, the Djinn’s stories achieve the quality of a great page-turner. But the movie becomes less effective as it raises the possibility of romance between Alithea and the Djinn. Swinton and Elba are both superb and have a sweet, touching chemistry, but they never forge the kind of bond that feels passionate enough to transcend time and space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie tosses off some fascinating ideas in the closing stretch, including the way a Djinn might feel redundant in a world where technology has become its own modern-day magic. But \u003cem>Three Thousand Years of Longing \u003c/em>ends on a muted, uncertain note. It left me faintly curious about what might happen next, which is not quite the same thing as wanting more.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Three+Thousand+Years+of+Longing%27+will+leave+you+charmed+%E2%80%94+and+a+little+worn+out&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hbGXqUumtqg\u003c/p>\n\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6lKuKcVc3bU\u003c/p>\n\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pss6jTzwxQ8\u003c/p>\n\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AD8dt9ndGgg\u003c/p>\n\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwm0IO-NFRM\u003c/p>\n\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QRyyagJ9GPo\u003c/p>\n\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gp2BNHwbwvI\u003c/p>\n\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go8nTmfrQd8\u003c/p>\n\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=In8fuzj3gck\u003c/p>\n\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0IOsk2Vlc4o\u003c/p>\n\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Jordan Peele's 'Nope,' 'The Bob's Burger's Movie' and 'Fire Island' with Bowen Yang all made the list. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hbGXqUumtqg'\n title='//www.youtube.com/embed/hbGXqUumtqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6lKuKcVc3bU'\n title='//www.youtube.com/embed/6lKuKcVc3bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Pss6jTzwxQ8'\n title='//www.youtube.com/embed/Pss6jTzwxQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AD8dt9ndGgg'\n title='//www.youtube.com/embed/AD8dt9ndGgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Iwm0IO-NFRM'\n title='//www.youtube.com/embed/Iwm0IO-NFRM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. 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That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gp2BNHwbwvI'\n title='//www.youtube.com/embed/Gp2BNHwbwvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. 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I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/In8fuzj3gck'\n title='//www.youtube.com/embed/In8fuzj3gck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. 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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
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"source": "wnyc"
},
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