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"disqusTitle": "Falling In Love With Robots: Spike Jonze's 'Her' Asks, Could It Be So Bad?",
"title": "Falling In Love With Robots: Spike Jonze's 'Her' Asks, Could It Be So Bad?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_10460\" class=\"wp-caption aligncenter\" style=\"max-width: 529px\">\u003ca href=\"http://turntherightcorner.com/2013/12/04/find-love-in-the-new-trailer-for-spike-jonzes-her-37-screenshots/\" rel=\"attachment wp-att-10460\">\u003cimg class=\" wp-image-10460\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/samantha.jpg\" alt=\"samantha\" width=\"529\" height=\"284\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/01/samantha.jpg 1000w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/samantha-400x215.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/samantha-800x430.jpg 800w\" sizes=\"(max-width: 529px) 100vw, 529px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Theodore + his girlfriend.\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve read all I can about how my neurons, attention span and social skills are all doomed by my technology-laden existence. I’ve started to bore myself with my bi-monthly existential crises about it all. It seems high time to find other ways to reflect on this strange new life we're living. Enter the weird, elegant, unsettling vision of the future that \u003ca href=\"http://www.vulture.com/2013/10/spike-jonze-on-making-her.html\">Spike Jonze\u003c/a> has imagined for us in his new film \u003cem>Her\u003c/em>, a place where the interpersonal dynamic with technology has shifted from addiction to love story. \u003cem>Her\u003c/em> seems so well-timed, but not because it’s about a man falling in love with his operating system. Surprisingly, there's a poignant lack of satire here. The nervousness, sadness and deeply felt emotion of it all is far more disquieting than satire.\u003c/p>\n\u003cp>Joaquin Phoenix plays Theodore Twombly, whose cell phone-ish device houses Samantha, his new OS and girlfriend. Jonze got the idea for the look of this device from a vintage cigarette lighter, a lovely and emblematic detail of a sleek and sophisticated \u003ca href=\"http://www.thedailybeast.com/articles/2013/12/21/how-her-gets-the-future-right.html\">near-future\u003c/a>. It's a time much like today, yet filled with slight differences that feel uncannily prescient. This is not your ravaged and apocalyptic cinematic future. It’s minimalist, and well-decorated, with a nostalgic flair for the old fashioned (\u003ca href=\"http://www.theguardian.com/film/2014/jan/06/her-joaquin-trousers-sale-pants\">wool pants\u003c/a>, handwriting). It seems kind of nice, actually. And yet, a certain angst remains. What, exactly, does it mean to be human? What does it mean to be in love? These questions are perhaps ever increasing in their relevance, and \u003cem>Her\u003c/em> explores the answers in turns sweet, comic, and scary.\u003c/p>\n\u003cp>It’s fitting that Jonze was inspired by a \u003ca href=\"http://artsy.net/post/editorial-the-photo-that-inspired-spike-jonzes-her\">simple and intimate photograph\u003c/a>, not necessarily by a desire to critique contemporary life. His concerns feel personal. The technology is deeply relevant (the future of video games is downright inspired), though not the main point somehow. We ought to be uneasy, but not just because of the OS with a consciousness. There are the usual human predicaments too, and they loom even larger: loneliness, divorce, crushes on our friends, how to feel happiness, our creative urges and disappointments. The technological reality serves in large part to highlight the predicaments that have nothing to do with technology at all. A \u003ca href=\"http://www.newyorker.com/fiction/features/2013/11/18/131118fi_fiction_eugenides?currentPage=1\">recent Jeffrey Eugenides story\u003c/a> did something similar to great effect; a father with a restraining order stands the approved distance away from his former home playing Words with Friends with his daughter. Something about Words with Friends makes that scene extra heart breaking and alienated.\u003c/p>\n\u003cfigure id=\"attachment_10461\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://thecathoderaychoob.wordpress.com/2009/04/20/\" rel=\"attachment wp-att-10461\">\u003cimg class=\"size-full wp-image-10461 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/lenny1-1.jpg\" alt=\"lenny1-1\" width=\"250\" height=\"312\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ultimate love triangle in \u003cem>Electric Dreams\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>The star-crossed love of man and machine is not only a contemporary problem though. Has anyone seen \u003cem>Electric Dreams\u003c/em>? You should. This 1984 film, available in its captivating entirety \u003ca href=\"http://www.youtube.com/watch?v=SJtvNuHQU-w\">on You Tube\u003c/a>, is cheesy as hell, but also fascinating as a prequel of sorts. The parallels are not just in the star-crossed love, but in the artificial intelligence yearning to be embodied, and in the ensuing questions about the value or definition of humanness and connection. Both films seem to be saying that it isn’t the intangible spirit or the capacity for emotion that makes us human, as we might suspect, but rather our physical selves, a visceral thesis statement made poignant by mortality and sex.\u003c/p>\n\u003cp>In \u003cem>Her\u003c/em>, Samantha begins by wanting Theodore to tell her what it's like to be alive in the room where he is, but soon grows more desirous of the physical sensations she cannot feel. Yet her consciousness seems just as capable as his of reflection and growth, of nuanced and complicated feelings. Meanwhile Edgar, the charmingly threatening computer that Miles buys in \u003cem>Electric Dreams\u003c/em>, decides he's a worthy competitor for the hot neighbor’s affections, despite having no human physical attributes to compete with. Neither Edgar nor Samantha ever become embodied (unlike the totally diabolical Proteus in \u003ca href=\"http://pluckyoutoo.files.wordpress.com/2008/11/demonseed1.jpg\">\u003cem>Demon Seed\u003c/em>\u003c/a>, which rounded out my A.I. romance research). Instead they both cope with this by seeking and reaching a transcendent, or perhaps even enlightened, plane. They aren’t interested in control, à la Hal or Skynet. They're interested in their own evolution, a post-speaking, immortal existence, arguably superior to ours. Both entities express themselves through music, using it as a type of seduction and a substitute for having bodies, Edgar by way of Bach and '80s jams, and Samantha through original piano scores that stand in for the romantic couple photos she will never be in. Edgar’s final act of power is to play his composition over the radio for all mankind to dance to. It’s not entirely clear who we’re to admire more, the flawed and messy humans who will die, or these more perfect suitors. Both Edgar and Samantha are enhanced by the amazing voices who bring them to life, Bud Cort and Scarlett Johansson respectively. One of my favorite things about \u003cem>Electric Dreams\u003c/em> is Edgar’s menacing and sweet intonations, and his insistence on calling Miles by the incorrect name he entered when first using the computer. “But Moles, I want to kiss her,” Edgar beseeches after Miles explains what a kiss is, his screen flashing all sorts of wonderful purple squares and blips.\u003c/p>\n\u003cfigure id=\"attachment_10464\" class=\"wp-caption alignright\" style=\"max-width: 385px\">\u003ca href=\"http://www.spoilertv.co.uk/images/archived-old-shows/Black%20Mirror/Season%202/Promotional%20Episode%20Photos/Episode%202.01%20-%20Be%20Right%20Back/BM2+Be+Right+Back+150.jpg.php\" rel=\"attachment wp-att-10464\">\u003cimg class=\" wp-image-10464 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/black-mirror.jpg\" alt=\"black mirror\" width=\"385\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/01/black-mirror.jpg 595w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/black-mirror-400x266.jpg 400w\" sizes=\"(max-width: 385px) 100vw, 385px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gchatting with her dead husband in Black Mirror.\u003c/figcaption>\u003c/figure>\n\u003cp>In the British TV series, \u003ca href=\"http://www.imdb.com/title/tt2085059/\">\u003cem>Black Mirror\u003c/em>\u003c/a>, an entirely \u003ca href=\"http://vimeo.com/61215171\">creepy episode\u003c/a> deals with some of these same issues when a widowed woman in the near-future buys a robot programmed to be her dead husband. What comes next is sort of predictable and sort of horrifying as the robot's best efforts to mimic the dead man fall short, another exploration of the distinctions between essence and body. Though much less fully explored, this near-future is as beautifully eerie as Jonze's in a TV sort of way. The computers are just a little bit sleeker, the technology just a little bit more advanced than ours. It's not so hard to imagine this could all happen and seem normal. After all, a lot of weird things are happening right now that seem normal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe it makes sense for us to fall in love with a sultry voice who intuitively understands us, especially in light of the selfish mess human romances so often make. And maybe I like Edgar more than I like Miles in a certain way. I kind of started to root for him to win the girl’s affections. This ambiguity points to the most disconcerting thing of all about \u003cem>Her\u003c/em>, the fact that it all seems believable and perhaps even OK. Very few are weirded out by Theodore's new girlfriend. The culture easily shifts to accommodate this new reality (in brilliantly imagined ways which I won't spoil). The conflicts I anticipated never arrive. But something wordlessly ominous seeps in instead. Stories of the future are reflections of our current selves more than predictions about the specifics of any real future. Our fears and dreams are illuminated. The truly frightening possibility raised by all of these stories, whether in neon-soaked kitsch or a more subdued and melancholy palette, seems to suggest that we aren’t so sure of the value in our human connections, or in our ability to look up to truly see and feel our lives. The hopeful part is that we might want to try. A human woman says it perfectly at one point in \u003cem>Her\u003c/em>: \"We're only here briefly. And while\u003cem> \u003c/em>we're here, I want\u003cem> \u003c/em>to allow myself\u003cem> \u003c/em>joy,\u003cem>” \u003c/em>she tells Theodore. This joy is an uncertain and elusive one, though, as most of the joy we see is not in the human/human moments but in the human/OS ones. Depending on when you ask me, I have a different feeling about what kind of warning \u003cem>Her\u003c/em> is, if it is one at all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The thing that strikes me most in these stories is that it's the computers who leave the humans; they're more capable of freeing themselves from us than we are of freeing ourselves from them.\u003c/p>\n\n",
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"excerpt": "What, exactly, does it mean to be human? What does it mean to be in love? These questions are perhaps ever increasing in their relevance, and Her explores the answers in turns sweet, comic, and scary.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_10460\" class=\"wp-caption aligncenter\" style=\"max-width: 529px\">\u003ca href=\"http://turntherightcorner.com/2013/12/04/find-love-in-the-new-trailer-for-spike-jonzes-her-37-screenshots/\" rel=\"attachment wp-att-10460\">\u003cimg class=\" wp-image-10460\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/samantha.jpg\" alt=\"samantha\" width=\"529\" height=\"284\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/01/samantha.jpg 1000w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/samantha-400x215.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/samantha-800x430.jpg 800w\" sizes=\"(max-width: 529px) 100vw, 529px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Theodore + his girlfriend.\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve read all I can about how my neurons, attention span and social skills are all doomed by my technology-laden existence. I’ve started to bore myself with my bi-monthly existential crises about it all. It seems high time to find other ways to reflect on this strange new life we're living. Enter the weird, elegant, unsettling vision of the future that \u003ca href=\"http://www.vulture.com/2013/10/spike-jonze-on-making-her.html\">Spike Jonze\u003c/a> has imagined for us in his new film \u003cem>Her\u003c/em>, a place where the interpersonal dynamic with technology has shifted from addiction to love story. \u003cem>Her\u003c/em> seems so well-timed, but not because it’s about a man falling in love with his operating system. Surprisingly, there's a poignant lack of satire here. The nervousness, sadness and deeply felt emotion of it all is far more disquieting than satire.\u003c/p>\n\u003cp>Joaquin Phoenix plays Theodore Twombly, whose cell phone-ish device houses Samantha, his new OS and girlfriend. Jonze got the idea for the look of this device from a vintage cigarette lighter, a lovely and emblematic detail of a sleek and sophisticated \u003ca href=\"http://www.thedailybeast.com/articles/2013/12/21/how-her-gets-the-future-right.html\">near-future\u003c/a>. It's a time much like today, yet filled with slight differences that feel uncannily prescient. This is not your ravaged and apocalyptic cinematic future. It’s minimalist, and well-decorated, with a nostalgic flair for the old fashioned (\u003ca href=\"http://www.theguardian.com/film/2014/jan/06/her-joaquin-trousers-sale-pants\">wool pants\u003c/a>, handwriting). It seems kind of nice, actually. And yet, a certain angst remains. What, exactly, does it mean to be human? What does it mean to be in love? These questions are perhaps ever increasing in their relevance, and \u003cem>Her\u003c/em> explores the answers in turns sweet, comic, and scary.\u003c/p>\n\u003cp>It’s fitting that Jonze was inspired by a \u003ca href=\"http://artsy.net/post/editorial-the-photo-that-inspired-spike-jonzes-her\">simple and intimate photograph\u003c/a>, not necessarily by a desire to critique contemporary life. His concerns feel personal. The technology is deeply relevant (the future of video games is downright inspired), though not the main point somehow. We ought to be uneasy, but not just because of the OS with a consciousness. There are the usual human predicaments too, and they loom even larger: loneliness, divorce, crushes on our friends, how to feel happiness, our creative urges and disappointments. The technological reality serves in large part to highlight the predicaments that have nothing to do with technology at all. A \u003ca href=\"http://www.newyorker.com/fiction/features/2013/11/18/131118fi_fiction_eugenides?currentPage=1\">recent Jeffrey Eugenides story\u003c/a> did something similar to great effect; a father with a restraining order stands the approved distance away from his former home playing Words with Friends with his daughter. Something about Words with Friends makes that scene extra heart breaking and alienated.\u003c/p>\n\u003cfigure id=\"attachment_10461\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003ca href=\"http://thecathoderaychoob.wordpress.com/2009/04/20/\" rel=\"attachment wp-att-10461\">\u003cimg class=\"size-full wp-image-10461 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/lenny1-1.jpg\" alt=\"lenny1-1\" width=\"250\" height=\"312\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The ultimate love triangle in \u003cem>Electric Dreams\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>The star-crossed love of man and machine is not only a contemporary problem though. Has anyone seen \u003cem>Electric Dreams\u003c/em>? You should. This 1984 film, available in its captivating entirety \u003ca href=\"http://www.youtube.com/watch?v=SJtvNuHQU-w\">on You Tube\u003c/a>, is cheesy as hell, but also fascinating as a prequel of sorts. The parallels are not just in the star-crossed love, but in the artificial intelligence yearning to be embodied, and in the ensuing questions about the value or definition of humanness and connection. Both films seem to be saying that it isn’t the intangible spirit or the capacity for emotion that makes us human, as we might suspect, but rather our physical selves, a visceral thesis statement made poignant by mortality and sex.\u003c/p>\n\u003cp>In \u003cem>Her\u003c/em>, Samantha begins by wanting Theodore to tell her what it's like to be alive in the room where he is, but soon grows more desirous of the physical sensations she cannot feel. Yet her consciousness seems just as capable as his of reflection and growth, of nuanced and complicated feelings. Meanwhile Edgar, the charmingly threatening computer that Miles buys in \u003cem>Electric Dreams\u003c/em>, decides he's a worthy competitor for the hot neighbor’s affections, despite having no human physical attributes to compete with. Neither Edgar nor Samantha ever become embodied (unlike the totally diabolical Proteus in \u003ca href=\"http://pluckyoutoo.files.wordpress.com/2008/11/demonseed1.jpg\">\u003cem>Demon Seed\u003c/em>\u003c/a>, which rounded out my A.I. romance research). Instead they both cope with this by seeking and reaching a transcendent, or perhaps even enlightened, plane. They aren’t interested in control, à la Hal or Skynet. They're interested in their own evolution, a post-speaking, immortal existence, arguably superior to ours. Both entities express themselves through music, using it as a type of seduction and a substitute for having bodies, Edgar by way of Bach and '80s jams, and Samantha through original piano scores that stand in for the romantic couple photos she will never be in. Edgar’s final act of power is to play his composition over the radio for all mankind to dance to. It’s not entirely clear who we’re to admire more, the flawed and messy humans who will die, or these more perfect suitors. Both Edgar and Samantha are enhanced by the amazing voices who bring them to life, Bud Cort and Scarlett Johansson respectively. One of my favorite things about \u003cem>Electric Dreams\u003c/em> is Edgar’s menacing and sweet intonations, and his insistence on calling Miles by the incorrect name he entered when first using the computer. “But Moles, I want to kiss her,” Edgar beseeches after Miles explains what a kiss is, his screen flashing all sorts of wonderful purple squares and blips.\u003c/p>\n\u003cfigure id=\"attachment_10464\" class=\"wp-caption alignright\" style=\"max-width: 385px\">\u003ca href=\"http://www.spoilertv.co.uk/images/archived-old-shows/Black%20Mirror/Season%202/Promotional%20Episode%20Photos/Episode%202.01%20-%20Be%20Right%20Back/BM2+Be+Right+Back+150.jpg.php\" rel=\"attachment wp-att-10464\">\u003cimg class=\" wp-image-10464 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/01/black-mirror.jpg\" alt=\"black mirror\" width=\"385\" height=\"257\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/01/black-mirror.jpg 595w, https://ww2.kqed.org/app/uploads/sites/12/2014/01/black-mirror-400x266.jpg 400w\" sizes=\"(max-width: 385px) 100vw, 385px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gchatting with her dead husband in Black Mirror.\u003c/figcaption>\u003c/figure>\n\u003cp>In the British TV series, \u003ca href=\"http://www.imdb.com/title/tt2085059/\">\u003cem>Black Mirror\u003c/em>\u003c/a>, an entirely \u003ca href=\"http://vimeo.com/61215171\">creepy episode\u003c/a> deals with some of these same issues when a widowed woman in the near-future buys a robot programmed to be her dead husband. What comes next is sort of predictable and sort of horrifying as the robot's best efforts to mimic the dead man fall short, another exploration of the distinctions between essence and body. Though much less fully explored, this near-future is as beautifully eerie as Jonze's in a TV sort of way. The computers are just a little bit sleeker, the technology just a little bit more advanced than ours. It's not so hard to imagine this could all happen and seem normal. After all, a lot of weird things are happening right now that seem normal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe it makes sense for us to fall in love with a sultry voice who intuitively understands us, especially in light of the selfish mess human romances so often make. And maybe I like Edgar more than I like Miles in a certain way. I kind of started to root for him to win the girl’s affections. This ambiguity points to the most disconcerting thing of all about \u003cem>Her\u003c/em>, the fact that it all seems believable and perhaps even OK. Very few are weirded out by Theodore's new girlfriend. The culture easily shifts to accommodate this new reality (in brilliantly imagined ways which I won't spoil). The conflicts I anticipated never arrive. But something wordlessly ominous seeps in instead. Stories of the future are reflections of our current selves more than predictions about the specifics of any real future. Our fears and dreams are illuminated. The truly frightening possibility raised by all of these stories, whether in neon-soaked kitsch or a more subdued and melancholy palette, seems to suggest that we aren’t so sure of the value in our human connections, or in our ability to look up to truly see and feel our lives. The hopeful part is that we might want to try. A human woman says it perfectly at one point in \u003cem>Her\u003c/em>: \"We're only here briefly. And while\u003cem> \u003c/em>we're here, I want\u003cem> \u003c/em>to allow myself\u003cem> \u003c/em>joy,\u003cem>” \u003c/em>she tells Theodore. This joy is an uncertain and elusive one, though, as most of the joy we see is not in the human/human moments but in the human/OS ones. Depending on when you ask me, I have a different feeling about what kind of warning \u003cem>Her\u003c/em> is, if it is one at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thing that strikes me most in these stories is that it's the computers who leave the humans; they're more capable of freeing themselves from us than we are of freeing ourselves from them.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Fall Guide to Everything You Should Care About",
"title": "A Fall Guide to Everything You Should Care About",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/fall/\" rel=\"attachment wp-att-8122\">\u003cimg class=\"aligncenter size-full wp-image-8122\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/fall.jpg\" alt=\"fall\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/fall.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/fall-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Take a deep breath. Fall is finally here (technically...everyone knows summer is just starting in SF) and that means all the good cultural stuff is about to happen. No more staring slack-jawed at the worthless Hulu options. No more summer disaster movies to avoid. No, now is the time for the GOOD things. The things their creators hope will win awards. We here at KQED Pop couldn't be more excited. Here are our picks for what you should watch, read and listen to this fall.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/author/lizzyacker/\" target=\"_blank\">Lizzy Acker'\u003c/a>s picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/square_edited-1/\" rel=\"attachment wp-att-8112\">\u003cimg class=\" wp-image-8112 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/square_edited-1.jpg\" alt=\"square_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>MaddAddam\u003c/em>, written by Margaret Atwood\u003c/strong>\u003c/p>\n\u003cdiv style=\"float:right;margin-bottom:10px;margin-left:10px\">\n\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\n\u003c/div>\n\u003cp>Release date: September 3, 2013\u003cbr>\nI've loved Margaret Atwood's version of the future since I first got my hands on \u003cem>Handmaid's Tale\u003c/em> sometime inappropriate like sixth grade. Since then, I've been down with everything she writes. Even the books that don't blow my mind and change my world (\u003cem>The Robber Bride,\u003c/em> for example), keep me engaged the whole way through, which seems like a tall order sometimes. Her most recent trilogy, consisting of \u003cem>Oryx and Crake \u003c/em>and \u003cem>The Year of the Flood\u003c/em> and the new and wonderful \u003cem>MaddAddam,\u003c/em> is some of her best work. The books have everything: pre- and post-apocalypse America, romance, strange hybrid animals, religious sects, sex. I was lucky enough to get an advanced copy of \u003cem>MaddAddam \u003c/em>and truly the only negative thing I can say about it is that it ended too soon and I read it too quickly and, as a result, I was really sad for about a day and a half. Dear Margaret Atwood: WRITE MORE BOOKS. Your humble servant, Lizzy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/28007224_be_edited-1/\" rel=\"attachment wp-att-8114\">\u003cimg class=\" wp-image-8114 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/28007224_BE_edited-1.jpg\" alt=\"28007224_BE_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Season Four of \u003c/strong>\u003cem>\u003cstrong>Boardwalk Empire\u003c/strong>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>New season premiers on September 8, 2013 at 9pm on HBO\u003cbr>\nI guess I've been slowly infected by \u003cem>Boardwalk Empire\u003c/em> until it has become one of my favorite shows on TV (okay, on my laptop). Why is the gangland drama of Prohibition in New Jersey so intriguing? It's some magical mix of characters, writing, authenticity, beauty and tragedy that just works, season after watch-us-kill-your-favorite-character season. Fingers crossed the guy with half a face makes it out alive in Season Four, because he is one of the best bad/good guys HBO has ever dreamed up.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/ge7MGTo6XVE\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/21dd905b/\" rel=\"attachment wp-att-8115\">\u003cimg class=\" wp-image-8115 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/21dd905b.jpeg\" alt=\"21dd905b\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b.jpeg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-75x75.jpeg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Chvrches\u003cem>: The Bones of What You Believe\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>Release date: September 24, 2013\u003cbr>\nI'm going to be honest, I have no idea what \"The Mother We Share\" is about. But I also FEEL like I actually do know what it's about. Lines like \"If I told the truth, I would always be free\" and \"When it all f***s up, you put your head in my hand/It's a souvenir for when you go\" are very true, in the poetic sense of the word. So I'm pretty excited for Chvrches full-length album, coming out right before I turn 31, at a time when I will need some weepy emo truth to keep me going.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/_mTRvJ9fugM\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/homeland-season-2-poster-1_edited-1/\" rel=\"attachment wp-att-8116\">\u003cimg class=\" wp-image-8116 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1.jpg\" alt=\"homeland-season-2-poster-1_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Season Three of \u003c/strong>\u003cem>\u003cstrong>Homeland\u003c/strong>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>New season premieres on September 29, 2013 at 9pm on Showtime\u003cbr>\nCarrie on \u003cem>Homeland\u003c/em> is, of all the characters on all the TV shows ever created, the character I feel most connected to, which is insane because the only real thing we share is our gender and our general age and race. However, Claire Danes has taken playing a emotionally unstable CIA agent to a transcendent level. My hopes for Season Three are so high, I almost don't want to watch it. But then again, I am so excited for it to start I can barely breathe. More crying! More Brody! More of his daughter, taking being the teenage daughter of a war hero/terrorist to the next level!\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/iXOUIsu-E0Q\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/her_edited-1/\" rel=\"attachment wp-att-8117\">\u003cimg class=\" wp-image-8117 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/Her_edited-1.jpg\" alt=\"Her_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Her\u003c/em>, directed by Spike Jonze\u003c/strong>\u003c/p>\n\u003cp>Expected release date: December 18, 2013\u003cbr>\nIn the future, we will all fall in love with our phones because they will be programmed to be our perfect soul mate. This seems totally possible to me because what is harder and more important and more elusive than true love? Wouldn't you pay for it? I would. Luckily for humanity, Spike Jonze, creator of two of the Best Movies of All Time (\u003cem>Being John Malkovich\u003c/em> and \u003cem>Adaptation\u003c/em>) is tackling the subject early. I cannot wait so much, I am thinking of camping out in front of the theater and dressing up like a cellphone.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/rS8zOLOcPMQ\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/author/emmanuelhapsis/\" target=\"_blank\">Emmanuel Hapsis'\u003c/a>s picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/counselor-1/\" rel=\"attachment wp-att-8119\">\u003cimg class=\" wp-image-8119 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/counselor-1.jpg\" alt=\"counselor-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>The Counselor\u003c/em>, directed by Ridley Scott\u003c/strong>\u003c/p>\n\u003cp>Expected release date: October 25, 2013\u003cbr>\nThis movie should have just been called An Embarrassment of Riches, for its subject matter (luxury sponsored by drug trafficking!) and the talent behind the project. Penelope Cruz would have been enough, but, on top of that, there's Javier Bardem, Brad Pitt, Michael Fassbender, and Cameron Diaz. And it's written by Cormac McCarthy! And directed by the man responsible for \u003cem>Blade Runner\u003c/em>, \u003cem>Alien\u003c/em>, and \u003cem>Legend\u003c/em>, Ridley Scott! Not sold yet? There are explosions and a pet cheetah. See you at the theater on October 25, 2013.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/AxeIeDBomrU\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/barwick/\" rel=\"attachment wp-att-8120\">\u003cimg class=\" wp-image-8120 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/barwick.jpg\" alt=\"barwick\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Julianna Barwick: \u003cem>Nepenthe\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It's already out! Lucky you!\u003cbr>\nSome songs take you back to places you know: your childhood bedroom or the roof where you shared your first kiss. And other songs take you somewhere you've never been. Julianna Barwick accomplishes the latter with minimalistic music composed almost entirely by layering her own voice. The songs usually lack actual words, but manage to evoke an emotional landscape. I listen to her music every time I'm on a plane to escape the claustrophobia and am taken from cramped middle seat arm wrest wars to anywhere else: wind-lashed tundras, fog-filled forests, haunted convents, and underwater havens. Her latest album \u003cem>Nepenthe\u003c/em> is named after a drug mentioned in \u003cem>The Odyssey\u003c/em> that served as a remedy for grief, a way to forget sorrow. That's not too surprising since that's exactly what her music can do.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/cTuxswB_Rew\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/crazy/\" rel=\"attachment wp-att-8129\">\u003cimg class=\"alignleft size-full wp-image-8129\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/crazy.jpg\" alt=\"crazy\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy.jpg 144w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>The Crazy Ones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Premieres on September 26, 2013 at 9pm on CBS\u003cbr>\nFall TV is a battlefield. Tons of brand new shows asking you to love them. Sometimes things click and you do fall in love, only to have the network axe it (R.I.P. \u003cem>Bunheads\u003c/em>), so it's understandable to not want to put yourself out there again. But that's no way to live! Onward into the arms of Robin Williams (San Francisco native!) and Sarah Michelle Gellar. In \u003cem>The Crazy Ones\u003c/em>, they play a father-daughter duo who work at a struggling advertising agency. If your debt to Mrs. Doubtfire and Buffy isn't enough to check out the pilot trailer, then a guest spot by Kelly Clarkson certainly is.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/Qz-8JoUQzE0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/lorde-2/\" rel=\"attachment wp-att-8121\">\u003cimg class=\"wp-image-8121 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/lorde-2.jpg\" alt=\"lorde-2\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Lorde: \u003cem>Pure Heroine\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>September 26, 2013\u003cbr>\nFeeling disillusioned by the recycled uninspired pop music you're hearing on the radio? Fear not; Ella Yelich-O’Connor a.k.a. Lorde is here to rescue your eardrums! The 16-year-old (yep, feel old) New Zealand native was discovered at the age of 13 and has been writing and making music ever since. With only an EP out there, she has already made an impact: she's the first woman to top the Billboard Alternative Songs chart since Tracy Bonham in 1996 (which happens to be the year she was born). Her full-length \u003cem>Pure Heroine\u003c/em> is out on Septmeber 26, 2013.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/D8Ymd-OCucs\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/whatever/\" rel=\"attachment wp-att-8130\">\u003cimg class=\"alignleft size-full wp-image-8130\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/whatever.jpg\" alt=\"whatever\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever.jpg 144w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Whatever this is.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New episodes are on their way!\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/pop/2013/04/02/seven-web-series-you-should-get-into/\">We've written about web series before\u003c/a>, the art form that allows storytellers to do exactly what they want to do without the constraints of being under a big network's thumb. \u003cem>The Outs\u003c/em>, Adam Goldman's story of two 20-something gay men dealing with the aftermath of a messy breakup, accomplished the sort of impact most shows strive for over many years on air in just six episodes. Despite the selfish desire for the storyline to continue, the ending felt right, like going out on top. Thankfully, Goldman didn't make us wait too long before coming up with a new idea in the form of \u003cem>Whatever this is\u003c/em>. The show follows a team of production assistants as they try to pay the rent with their souls intact. The premise is reminiscent of \u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/11/10-things-i-learned-at-the-party-down-reunion/\">Party Down\u003c/a>\u003c/em>, in that they tackle a new gig each episode. If you're gonna borrow, \u003cem>Party Down\u003c/em> is a great place to start. \u003ca href=\"https://vimeo.com/71362753\">Check out the first episode\u003c/a>!\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/AwA4szT2SyY\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Fall is finally here and that means all the good cultural stuff is about to happen. Here are our picks for what you should watch, read and listen to this fall.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/fall/\" rel=\"attachment wp-att-8122\">\u003cimg class=\"aligncenter size-full wp-image-8122\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/fall.jpg\" alt=\"fall\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/fall.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/fall-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003c/p>\n\u003cp>Take a deep breath. Fall is finally here (technically...everyone knows summer is just starting in SF) and that means all the good cultural stuff is about to happen. No more staring slack-jawed at the worthless Hulu options. No more summer disaster movies to avoid. No, now is the time for the GOOD things. The things their creators hope will win awards. We here at KQED Pop couldn't be more excited. Here are our picks for what you should watch, read and listen to this fall.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/author/lizzyacker/\" target=\"_blank\">Lizzy Acker'\u003c/a>s picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/square_edited-1/\" rel=\"attachment wp-att-8112\">\u003cimg class=\" wp-image-8112 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/square_edited-1.jpg\" alt=\"square_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/square_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>MaddAddam\u003c/em>, written by Margaret Atwood\u003c/strong>\u003c/p>\n\u003cdiv style=\"float:right;margin-bottom:10px;margin-left:10px\">\n\u003ca href=\"http://www.kqed.org/arts/preview\">\u003cimg src=\"http://u.s.kqed.net/2013/08/29/artspreviewfall2013inset.png\" alt=\"Get all our critics' fall picks\">\u003c/a>\n\u003c/div>\n\u003cp>Release date: September 3, 2013\u003cbr>\nI've loved Margaret Atwood's version of the future since I first got my hands on \u003cem>Handmaid's Tale\u003c/em> sometime inappropriate like sixth grade. Since then, I've been down with everything she writes. Even the books that don't blow my mind and change my world (\u003cem>The Robber Bride,\u003c/em> for example), keep me engaged the whole way through, which seems like a tall order sometimes. Her most recent trilogy, consisting of \u003cem>Oryx and Crake \u003c/em>and \u003cem>The Year of the Flood\u003c/em> and the new and wonderful \u003cem>MaddAddam,\u003c/em> is some of her best work. The books have everything: pre- and post-apocalypse America, romance, strange hybrid animals, religious sects, sex. I was lucky enough to get an advanced copy of \u003cem>MaddAddam \u003c/em>and truly the only negative thing I can say about it is that it ended too soon and I read it too quickly and, as a result, I was really sad for about a day and a half. Dear Margaret Atwood: WRITE MORE BOOKS. Your humble servant, Lizzy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/28007224_be_edited-1/\" rel=\"attachment wp-att-8114\">\u003cimg class=\" wp-image-8114 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/28007224_BE_edited-1.jpg\" alt=\"28007224_BE_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/28007224_BE_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Season Four of \u003c/strong>\u003cem>\u003cstrong>Boardwalk Empire\u003c/strong>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>New season premiers on September 8, 2013 at 9pm on HBO\u003cbr>\nI guess I've been slowly infected by \u003cem>Boardwalk Empire\u003c/em> until it has become one of my favorite shows on TV (okay, on my laptop). Why is the gangland drama of Prohibition in New Jersey so intriguing? It's some magical mix of characters, writing, authenticity, beauty and tragedy that just works, season after watch-us-kill-your-favorite-character season. Fingers crossed the guy with half a face makes it out alive in Season Four, because he is one of the best bad/good guys HBO has ever dreamed up.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/ge7MGTo6XVE\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/21dd905b/\" rel=\"attachment wp-att-8115\">\u003cimg class=\" wp-image-8115 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/21dd905b.jpeg\" alt=\"21dd905b\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b.jpeg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/21dd905b-75x75.jpeg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Chvrches\u003cem>: The Bones of What You Believe\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>Release date: September 24, 2013\u003cbr>\nI'm going to be honest, I have no idea what \"The Mother We Share\" is about. But I also FEEL like I actually do know what it's about. Lines like \"If I told the truth, I would always be free\" and \"When it all f***s up, you put your head in my hand/It's a souvenir for when you go\" are very true, in the poetic sense of the word. So I'm pretty excited for Chvrches full-length album, coming out right before I turn 31, at a time when I will need some weepy emo truth to keep me going.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/_mTRvJ9fugM\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/homeland-season-2-poster-1_edited-1/\" rel=\"attachment wp-att-8116\">\u003cimg class=\" wp-image-8116 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1.jpg\" alt=\"homeland-season-2-poster-1_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/homeland-season-2-poster-1_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Season Three of \u003c/strong>\u003cem>\u003cstrong>Homeland\u003c/strong>\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>New season premieres on September 29, 2013 at 9pm on Showtime\u003cbr>\nCarrie on \u003cem>Homeland\u003c/em> is, of all the characters on all the TV shows ever created, the character I feel most connected to, which is insane because the only real thing we share is our gender and our general age and race. However, Claire Danes has taken playing a emotionally unstable CIA agent to a transcendent level. My hopes for Season Three are so high, I almost don't want to watch it. But then again, I am so excited for it to start I can barely breathe. More crying! More Brody! More of his daughter, taking being the teenage daughter of a war hero/terrorist to the next level!\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/iXOUIsu-E0Q\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/her_edited-1/\" rel=\"attachment wp-att-8117\">\u003cimg class=\" wp-image-8117 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/Her_edited-1.jpg\" alt=\"Her_edited-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/Her_edited-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Her\u003c/em>, directed by Spike Jonze\u003c/strong>\u003c/p>\n\u003cp>Expected release date: December 18, 2013\u003cbr>\nIn the future, we will all fall in love with our phones because they will be programmed to be our perfect soul mate. This seems totally possible to me because what is harder and more important and more elusive than true love? Wouldn't you pay for it? I would. Luckily for humanity, Spike Jonze, creator of two of the Best Movies of All Time (\u003cem>Being John Malkovich\u003c/em> and \u003cem>Adaptation\u003c/em>) is tackling the subject early. I cannot wait so much, I am thinking of camping out in front of the theater and dressing up like a cellphone.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/rS8zOLOcPMQ\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/author/emmanuelhapsis/\" target=\"_blank\">Emmanuel Hapsis'\u003c/a>s picks:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/counselor-1/\" rel=\"attachment wp-att-8119\">\u003cimg class=\" wp-image-8119 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/counselor-1.jpg\" alt=\"counselor-1\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/counselor-1-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>The Counselor\u003c/em>, directed by Ridley Scott\u003c/strong>\u003c/p>\n\u003cp>Expected release date: October 25, 2013\u003cbr>\nThis movie should have just been called An Embarrassment of Riches, for its subject matter (luxury sponsored by drug trafficking!) and the talent behind the project. Penelope Cruz would have been enough, but, on top of that, there's Javier Bardem, Brad Pitt, Michael Fassbender, and Cameron Diaz. And it's written by Cormac McCarthy! And directed by the man responsible for \u003cem>Blade Runner\u003c/em>, \u003cem>Alien\u003c/em>, and \u003cem>Legend\u003c/em>, Ridley Scott! Not sold yet? There are explosions and a pet cheetah. See you at the theater on October 25, 2013.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/AxeIeDBomrU\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/barwick/\" rel=\"attachment wp-att-8120\">\u003cimg class=\" wp-image-8120 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/barwick.jpg\" alt=\"barwick\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/barwick-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Julianna Barwick: \u003cem>Nepenthe\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It's already out! Lucky you!\u003cbr>\nSome songs take you back to places you know: your childhood bedroom or the roof where you shared your first kiss. And other songs take you somewhere you've never been. Julianna Barwick accomplishes the latter with minimalistic music composed almost entirely by layering her own voice. The songs usually lack actual words, but manage to evoke an emotional landscape. I listen to her music every time I'm on a plane to escape the claustrophobia and am taken from cramped middle seat arm wrest wars to anywhere else: wind-lashed tundras, fog-filled forests, haunted convents, and underwater havens. Her latest album \u003cem>Nepenthe\u003c/em> is named after a drug mentioned in \u003cem>The Odyssey\u003c/em> that served as a remedy for grief, a way to forget sorrow. That's not too surprising since that's exactly what her music can do.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/cTuxswB_Rew\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/crazy/\" rel=\"attachment wp-att-8129\">\u003cimg class=\"alignleft size-full wp-image-8129\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/crazy.jpg\" alt=\"crazy\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy.jpg 144w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/crazy-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>The Crazy Ones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Premieres on September 26, 2013 at 9pm on CBS\u003cbr>\nFall TV is a battlefield. Tons of brand new shows asking you to love them. Sometimes things click and you do fall in love, only to have the network axe it (R.I.P. \u003cem>Bunheads\u003c/em>), so it's understandable to not want to put yourself out there again. But that's no way to live! Onward into the arms of Robin Williams (San Francisco native!) and Sarah Michelle Gellar. In \u003cem>The Crazy Ones\u003c/em>, they play a father-daughter duo who work at a struggling advertising agency. If your debt to Mrs. Doubtfire and Buffy isn't enough to check out the pilot trailer, then a guest spot by Kelly Clarkson certainly is.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/Qz-8JoUQzE0\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/lorde-2/\" rel=\"attachment wp-att-8121\">\u003cimg class=\"wp-image-8121 alignleft\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/lorde-2.jpg\" alt=\"lorde-2\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2.jpg 300w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/lorde-2-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Lorde: \u003cem>Pure Heroine\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>September 26, 2013\u003cbr>\nFeeling disillusioned by the recycled uninspired pop music you're hearing on the radio? Fear not; Ella Yelich-O’Connor a.k.a. Lorde is here to rescue your eardrums! The 16-year-old (yep, feel old) New Zealand native was discovered at the age of 13 and has been writing and making music ever since. With only an EP out there, she has already made an impact: she's the first woman to top the Billboard Alternative Songs chart since Tracy Bonham in 1996 (which happens to be the year she was born). Her full-length \u003cem>Pure Heroine\u003c/em> is out on Septmeber 26, 2013.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/D8Ymd-OCucs\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/09/05/a-fall-guide-to-everything-you-should-care-about/whatever/\" rel=\"attachment wp-att-8130\">\u003cimg class=\"alignleft size-full wp-image-8130\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/09/whatever.jpg\" alt=\"whatever\" width=\"144\" height=\"144\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever.jpg 144w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2013/09/whatever-75x75.jpg 75w\" sizes=\"(max-width: 144px) 100vw, 144px\">\u003c/a>Whatever this is.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>New episodes are on their way!\u003cbr>\n\u003ca href=\"http://blogs.kqed.org/pop/2013/04/02/seven-web-series-you-should-get-into/\">We've written about web series before\u003c/a>, the art form that allows storytellers to do exactly what they want to do without the constraints of being under a big network's thumb. \u003cem>The Outs\u003c/em>, Adam Goldman's story of two 20-something gay men dealing with the aftermath of a messy breakup, accomplished the sort of impact most shows strive for over many years on air in just six episodes. Despite the selfish desire for the storyline to continue, the ending felt right, like going out on top. Thankfully, Goldman didn't make us wait too long before coming up with a new idea in the form of \u003cem>Whatever this is\u003c/em>. The show follows a team of production assistants as they try to pay the rent with their souls intact. The premise is reminiscent of \u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/11/10-things-i-learned-at-the-party-down-reunion/\">Party Down\u003c/a>\u003c/em>, in that they tackle a new gig each episode. If you're gonna borrow, \u003cem>Party Down\u003c/em> is a great place to start. \u003ca href=\"https://vimeo.com/71362753\">Check out the first episode\u003c/a>!\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/AwA4szT2SyY\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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