Three Eye-Opening Documentaries You Can Stream Right Now
Netflix’s Stylish ‘Ripley’ Stretches the Grift — and the Tension — to the Max
‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session
The Best TV of Early 2024: Here's What to Watch in January
‘Leave the World Behind’ Is a Terrific Blend of Thriller, Disaster and Satire
‘The Challenge’ Is Understanding Why the ‘Squid Game’ Game Show Was Green-Lit
Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy
In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight
'All the Light We Cannot See' Is a Heartening and Hopeful Wartime Tale
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The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M-ppnYEAqSE\u003c/p>\n\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=p1pONvsrBEo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y8Z8xMmly1M\u003c/p>\n\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13954796']We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"It can be hard keeping track of all the new docs out there. Three currently on Netflix and Max are stand outs.","status":"publish","parent":0,"modified":1713162028,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":683},"headData":{"title":"Best New True Crime Documentaries to Stream | KQED","description":"It can be hard keeping track of all the new docs out there. Three currently on Netflix and Max are stand outs.","ogTitle":"Three Eye-Opening Documentaries You Can Stream Right Now","ogDescription":"","ogImgId":"","twTitle":"Three Eye-Opening Documentaries You Can Stream Right Now","twDescription":"","twImgId":"","socialTitle":"Best New True Crime Documentaries to Stream%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"HBO","nprStoryId":"1244355654","nprApiLink":"http://api.npr.org/query?id=1244355654&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/14/1244355654/what-to-watch-documentary-netflix-hbo-max?ft=nprml&f=1244355654","nprRetrievedStory":"1","nprPubDate":"Sun, 14 Apr 2024 07:00:00 -0400","nprStoryDate":"Sun, 14 Apr 2024 07:00:40 -0400","nprLastModifiedDate":"Sun, 14 Apr 2024 07:00:40 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955948/best-new-documentaries-netflix-hbo-streaming","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\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/M-ppnYEAqSE'\n title='//www.youtube.com/embed/M-ppnYEAqSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\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/p1pONvsrBEo'\n title='//www.youtube.com/embed/p1pONvsrBEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\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/Y8Z8xMmly1M'\n title='//www.youtube.com/embed/Y8Z8xMmly1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955948/best-new-documentaries-netflix-hbo-streaming","authors":["byline_arts_13955948"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_990"],"tags":["arts_13672","arts_20624","arts_3324","arts_769","arts_6427","arts_585","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13955949","label":"arts_140"},"arts_13955549":{"type":"posts","id":"arts_13955549","meta":{"index":"posts_1591205157","site":"arts","id":"13955549","score":null,"sort":[1712339871000]},"guestAuthors":[],"slug":"ripley-netflix-review-style-andrew-scott","title":"Netflix’s Stylish ‘Ripley’ Stretches the Grift — and the Tension — to the Max","publishDate":1712339871,"format":"standard","headTitle":"Netflix’s Stylish ‘Ripley’ Stretches the Grift — and the Tension — to the Max | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Author Patricia Highsmith wrote her first of several novels about Tom Ripley, a successful con man, in 1955. Four decades later, that first book, \u003cem>The Talented Mr. Ripley\u003c/em>, was adapted into a 1999 movie, starring a young Matt Damon. Now, 25 years later, it’s being adapted again — this time as an eight-part Netflix miniseries called\u003cem> Ripley.\u003c/em>\u003c/p>\n\u003cp>There are a few things you should know about this new miniseries right at the start — and I hope that each of them will help persuade you to tune in and watch. One is that all eight episodes of this new adaptation are written and directed by Steven Zaillian, who directed and wrote the screenplay for \u003cem>Searching for Bobby Fischer, \u003c/em>co-wrote the screenplay for \u003cem>Moneyball, \u003c/em>and wrote the screenplays for \u003cem>Schindler’s List, Awakenings\u003c/em> and \u003cem>The Girl with the Dragon Tattoo.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13954796']Another is that this new \u003cem>Ripley \u003c/em>entrusts the title role of con artist Tom Ripley to Andrew Scott. If his name isn’t familiar, he’s the handsome young actor who got international recognition for appearing in the second season of \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">\u003cem>Fleabag\u003c/em>\u003c/a> — in a role commonly referred to as “the hot priest.”\u003c/p>\n\u003cp>And there’s a third truly noteworthy aspect to Netflix’s \u003cem>Ripley\u003c/em>: All eight episodes are in black and white — a rarity for modern TV. \u003cem>Ripley\u003c/em> is set in the early 1960s, but the choice of shooting in black and white clearly is based on an aesthetic. Director Zaillian and cinematographer Robert Elswit make the most of it, presenting stunning images of Italian landscapes, art and architecture, as well as piercing closeups worthy of the best film noir.\u003c/p>\n\u003cp>Keeping the story of \u003cem>Ripley \u003c/em>rooted in its original time period also is more than stylistically satisfying — it’s crucial. Ripley was a grifter whose cons worked primarily because the passage of information then was so slow — no cellphones, no internet and plenty of ways to intercept, or lose, things in the mail. Back then, pulling his scams, Ripley could get away with murder. And eventually, he tries to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0ri2biYLeaI\u003c/p>\n\u003cp>Scott, in a tour de force performance, is in virtually every scene in the first five episodes. He’s intense even when he’s soft-spoken. We first meet Ripley as he’s pulling off a detailed mail-fraud con job when he’s approached in a local New York bar by a private eye working for a wealthy man, Dickie’s father, with an unusual offer. The bar conversation leads to an opportunity for Ripley to go to Italy — all expenses paid — and check in on Dickie, with hopes of persuading him to return home to the States.\u003c/p>\n\u003cp>When Ripley arrives, he finds Dickie (Johnny Flynn) living in a gorgeous rented Italian villa, in the company of a woman, Marge, who has designs on benefiting from Dickie’s lavish lifestyle. But so does Tom — and he gets close enough to be a fellow guest in Dickie’s villa.\u003c/p>\n\u003cp>This triangle — Ripley, Dickie and Marge (Dakota Fanning) — actually becomes a rectangle, thanks to the arrival of another friend of Dickie’s, a playwright named Freddie. And each of them, in time, is a possible candidate for Ripley to swindle, seduce or murder. Or some combination of all three.\u003c/p>\n\u003cp>[aside postid='arts_13954358']The tension in this \u003cem>Ripley \u003c/em>series is stretched to the max, in a confident and exciting way. One five-page scene in the book, involving a mishap with a small motorboat, is mounted as a 15-minute epic sequence with Ripley that’s totally wordless — well, except for one word, which I can’t repeat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there are other bold narrative and visual surprises throughout. At one point, there’s an unexpected but pertinent flashback to the 1600s. Elsewhere, there’s a very clever visual trick of translating Italian newspaper headlines into English on screen by morphing them from one language to the other. And somewhere, amid all this glorious black and white, there’s one quick splash of color — an effect reminiscent of\u003cem> Schindler’s List, \u003c/em>one of the other films on Zaillian’s resume. And speaking of that resume — as the credited creator, writer and director of Netflix’s \u003cem>Ripley\u003c/em>, he’s added a doozy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 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=Netflix%27s+stylish+%27Ripley%27+stretches+the+grift+%E2%80%94+and+the+tension+%E2%80%94+to+the+max&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Andrew Scott stars as a grifter who's always ready to swindle, seduce or murder in a new eight-part miniseries.","status":"publish","parent":0,"modified":1712339871,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":759},"headData":{"title":"‘Ripley’ Review: Netflix Offers Stylish Take on Highsmith Books | KQED","description":"Andrew Scott stars as a grifter who's always ready to swindle, seduce or murder in a new eight-part miniseries.","ogTitle":"Netflix’s Stylish ‘Ripley’ Stretches the Grift — and the Tension — to the Max","ogDescription":"","ogImgId":"","twTitle":"Netflix’s Stylish ‘Ripley’ Stretches the Grift — and the Tension — to the Max","twDescription":"","twImgId":"","socialTitle":"‘Ripley’ Review: Netflix Offers Stylish Take on Highsmith Books%%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Lorenzo Sisti","nprByline":"David Bianculli","nprImageAgency":"Netflix","nprStoryId":"1242810646","nprApiLink":"http://api.npr.org/query?id=1242810646&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/04/1242810646/ripley-review-andrew-scott?ft=nprml&f=1242810646","nprRetrievedStory":"1","nprPubDate":"Thu, 04 Apr 2024 15:12:00 -0400","nprStoryDate":"Thu, 04 Apr 2024 15:09:49 -0400","nprLastModifiedDate":"Thu, 04 Apr 2024 15:10:18 -0400","nprAudio":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240404_fa_ec4d6fc5-750e-4793-ae74-895e4d4c4e28.mp3?orgId=427869011&topicId=1163&d=388&p=13&story=1242810646&ft=nprml&f=1242810646","nprAudioM3u":"http://api.npr.org/m3u/11242862389-fc060e.m3u?orgId=427869011&topicId=1163&d=388&p=13&story=1242810646&ft=nprml&f=1242810646","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955549/ripley-netflix-review-style-andrew-scott","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/04/20240404_fa_ec4d6fc5-750e-4793-ae74-895e4d4c4e28.mp3?orgId=427869011&topicId=1163&d=388&p=13&story=1242810646&ft=nprml&f=1242810646","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Author Patricia Highsmith wrote her first of several novels about Tom Ripley, a successful con man, in 1955. Four decades later, that first book, \u003cem>The Talented Mr. Ripley\u003c/em>, was adapted into a 1999 movie, starring a young Matt Damon. Now, 25 years later, it’s being adapted again — this time as an eight-part Netflix miniseries called\u003cem> Ripley.\u003c/em>\u003c/p>\n\u003cp>There are a few things you should know about this new miniseries right at the start — and I hope that each of them will help persuade you to tune in and watch. One is that all eight episodes of this new adaptation are written and directed by Steven Zaillian, who directed and wrote the screenplay for \u003cem>Searching for Bobby Fischer, \u003c/em>co-wrote the screenplay for \u003cem>Moneyball, \u003c/em>and wrote the screenplays for \u003cem>Schindler’s List, Awakenings\u003c/em> and \u003cem>The Girl with the Dragon Tattoo.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954796","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Another is that this new \u003cem>Ripley \u003c/em>entrusts the title role of con artist Tom Ripley to Andrew Scott. If his name isn’t familiar, he’s the handsome young actor who got international recognition for appearing in the second season of \u003ca href=\"https://www.npr.org/2019/05/16/723961358/fleabag-returns-for-a-raunchy-2nd-season-and-quits-while-it-s-ahead\">\u003cem>Fleabag\u003c/em>\u003c/a> — in a role commonly referred to as “the hot priest.”\u003c/p>\n\u003cp>And there’s a third truly noteworthy aspect to Netflix’s \u003cem>Ripley\u003c/em>: All eight episodes are in black and white — a rarity for modern TV. \u003cem>Ripley\u003c/em> is set in the early 1960s, but the choice of shooting in black and white clearly is based on an aesthetic. Director Zaillian and cinematographer Robert Elswit make the most of it, presenting stunning images of Italian landscapes, art and architecture, as well as piercing closeups worthy of the best film noir.\u003c/p>\n\u003cp>Keeping the story of \u003cem>Ripley \u003c/em>rooted in its original time period also is more than stylistically satisfying — it’s crucial. Ripley was a grifter whose cons worked primarily because the passage of information then was so slow — no cellphones, no internet and plenty of ways to intercept, or lose, things in the mail. Back then, pulling his scams, Ripley could get away with murder. And eventually, he tries to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\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/0ri2biYLeaI'\n title='//www.youtube.com/embed/0ri2biYLeaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Scott, in a tour de force performance, is in virtually every scene in the first five episodes. He’s intense even when he’s soft-spoken. We first meet Ripley as he’s pulling off a detailed mail-fraud con job when he’s approached in a local New York bar by a private eye working for a wealthy man, Dickie’s father, with an unusual offer. The bar conversation leads to an opportunity for Ripley to go to Italy — all expenses paid — and check in on Dickie, with hopes of persuading him to return home to the States.\u003c/p>\n\u003cp>When Ripley arrives, he finds Dickie (Johnny Flynn) living in a gorgeous rented Italian villa, in the company of a woman, Marge, who has designs on benefiting from Dickie’s lavish lifestyle. But so does Tom — and he gets close enough to be a fellow guest in Dickie’s villa.\u003c/p>\n\u003cp>This triangle — Ripley, Dickie and Marge (Dakota Fanning) — actually becomes a rectangle, thanks to the arrival of another friend of Dickie’s, a playwright named Freddie. And each of them, in time, is a possible candidate for Ripley to swindle, seduce or murder. Or some combination of all three.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The tension in this \u003cem>Ripley \u003c/em>series is stretched to the max, in a confident and exciting way. One five-page scene in the book, involving a mishap with a small motorboat, is mounted as a 15-minute epic sequence with Ripley that’s totally wordless — well, except for one word, which I can’t repeat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And there are other bold narrative and visual surprises throughout. At one point, there’s an unexpected but pertinent flashback to the 1600s. Elsewhere, there’s a very clever visual trick of translating Italian newspaper headlines into English on screen by morphing them from one language to the other. And somewhere, amid all this glorious black and white, there’s one quick splash of color — an effect reminiscent of\u003cem> Schindler’s List, \u003c/em>one of the other films on Zaillian’s resume. And speaking of that resume — as the credited creator, writer and director of Netflix’s \u003cem>Ripley\u003c/em>, he’s added a doozy.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 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=Netflix%27s+stylish+%27Ripley%27+stretches+the+grift+%E2%80%94+and+the+tension+%E2%80%94+to+the+max&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955549/ripley-netflix-review-style-andrew-scott","authors":["byline_arts_13955549"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3324","arts_769","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13955550","label":"arts_140"},"arts_13951126":{"type":"posts","id":"arts_13951126","meta":{"index":"posts_1591205157","site":"arts","id":"13951126","score":null,"sort":[1706553108000]},"guestAuthors":[],"slug":"we-are-the-world-documentary-netflix-80s","title":"‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session","publishDate":1706553108,"format":"standard","headTitle":"‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>[aside postid='arts_13933809']Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>[aside postid='arts_13936153']“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MD3oU1gowu4\u003c/p>\n\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>[aside postid='arts_13951078']The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>[aside postid='arts_13938155']Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘The Greatest Night in Pop’ captures the good, the bad and the awkward from one of pop's most legendary recording sessions.","status":"publish","parent":0,"modified":1706553108,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1116},"headData":{"title":"New Netflix Documentary Captures ‘We Are the World’ Recording | KQED","description":"‘The Greatest Night in Pop’ captures the good, the bad and the awkward from one of pop's most legendary recording sessions.","ogTitle":"‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session","ogDescription":"","ogImgId":"","twTitle":"‘We Are the World’ Documentary Goes Inside Starry 1985 Recording Session","twDescription":"","twImgId":"","socialTitle":"New Netflix Documentary Captures ‘We Are the World’ Recording %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Mark Kennedy, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13951126/we-are-the-world-documentary-netflix-80s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty-nine years ago, the biggest music stars in the world crammed into a recording studio in Los Angeles for an all-night session that they hoped might alter music history.\u003c/p>\n\u003cp>“We Are the World” was a 1985 charity single for African famine relief that included the voices of Michael Jackson, Willie Nelson, Bob Dylan, Ray Charles, Diana Ross, Stevie Wonder, Smokey Robinson, Paul Simon, Tina Turner, Dionne Warwick, Lionel Richie, Billy Joel and Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933809","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Fans get a chance to almost step into that recording session this month with the Netflix documentary \u003cem>The Greatest Night in Pop\u003c/em>, a behind-the-scenes look at the complex birth of a megahit. It starts streaming Monday.\u003c/p>\n\u003cp>“It’s a celebration of the power of creativity and the power of collective humanity,” says producer Julia Nottingham. “The amazing thing about the song is it’s such an inspiration for so many artists.”\u003c/p>\n\u003cp>The filmmakers got fresh insights after landing interviews with Richie, Springsteen, Robinson, Cyndi Lauper, Kenny Loggins, Dionne Warwick and Huey Lewis — and for an added bonus spoke to them inside A&M Studios, the site of their triumph in 1985.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I knew it was important to recreate those memories by just sort of walking into that room and what that energy created for them,” said director Bao Nguyen, who was only 2 when the single came out.\u003c/p>\n\u003cp>The filmmakers married never-before-seen footage taken from four cameras that captured the USA for Africa session with audio from journalist David Breskin, offering insight into the dynamics and drama in the room that the official music video could not.\u003c/p>\n\u003cp>\u003cem>The Greatest Night in Pop\u003c/em> isn’t shy about exploring some of the more unflattering things, like Al Jarreau having a bit too much wine and how Dylan was out of his element, needing Wonder to mimic how the Nobel laureate might approach his solo.\u003c/p>\n\u003cp>Lauper accidentally prolonged the recording session because her jangling jewelry fouled up the recording, while Prince, who was at a Mexican restaurant on the Sunset Strip, offered to do an isolated guitar solo. Sheila E confesses she felt like she was invited to the recording session just to lure Prince in. In the end, Prince never made it, robbing the single of a Jackson-Prince double punch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936153","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“For me, it was just important that we told a story that was honest,” said Nguyen. “It is an honest story about the night and all the things that could have gone wrong — that did go wrong — but at the end of the day, it became this beautiful family.”\u003c/p>\n\u003cp>The details in the doc are glorious: The image of Joel kissing then-wife Christie Brinkley before heading into the studio, and the nugget that Springsteen drove himself to the location in a Pontiac GTO. Other highlights: Watching singer-songwriter Joel explore an alternative lyric, the stars gathering around Wonder on a piano for the first run-through, and Richie, ever the ambassador, smoothing over potential disputes.\u003c/p>\n\u003cp>There’s a moment when the 40-plus superstars are asked to groove from their knees and stop pounding their feet on the risers, which was throwing off the sound. Producer Quincy Jones tried to head off any hubris by tapping up a sign: “Check Your Ego at the Door.”\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/MD3oU1gowu4'\n title='//www.youtube.com/embed/MD3oU1gowu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with the AP at the Sundance Film Festival, Richie recalled that having Charles there was helpful, since he was revered. The presence of Dylan also helped neutralize any gripping.\u003c/p>\n\u003cp>“We got the right players to come in. And then once we realized we were trying to save people’s lives, then it’s not about us anymore,” Richie said. “But to deliver that in one night? An impossibility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951078","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The documentary anchors the effort in the activism of Harry Belafonte, who had raised the alarm about famine in Ethiopia, and having him in the studio singing “We Are the World” was poignant.\u003c/p>\n\u003cp>The group — exhausted and giddy in the wee hours — also serenaded the legend with a spontaneous version of Belafonte’s “Banana Boat,” with the lyrics “Daylight come and we want to go home.”\u003c/p>\n\u003cp>It is revealed that Loggins suggested that Huey Lewis replace Prince in the solos, right after Jackson. No pressure, right? “It was just one line, but my legs were literally shaking,” Lewis recalls in the movie.\u003c/p>\n\u003cp>There was a key moment when Wonder suggested that some lyrics be sung in Swahili, an idea that prompted Waylon Jennings to balk. The idea was scrapped when it was learned that Swahili wasn’t spoken in Ethiopia. There’s also footage of Bob Geldof, who was a driving force behind Live Aid, inspiring the group in a speech before the session. The Live Aid concert would happen that summer.\u003c/p>\n\u003cp>The documentary also goes back to explore the events before the recording, like that song co-writers Jackson and Richie were still working on it 10 days before the recording session on Jan. 28, 1985. Once in the studio, footage captures superstars — no assistants allowed — nervously hugging. “It was like first day at Kindergarten,” Richie says.\u003c/p>\n\u003cp>The decision to pick that particular night to record the single was made in order to piggy-back off the influx of music royalty attending the American Music Awards, hosted by Richie, who performed twice and won six awards. The cream of the cream then made their way to the all-night recording session at A&M Studios.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938155","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Lauper, who dazzled everyone with her vocal prowess, was almost a no-show. Her boyfriend counseled her to skip the recording because he thought the single wouldn’t be a hit. But Richie told her: “It’s pretty important for you to make the right decision. Don’t miss the session tonight.”\u003c/p>\n\u003cp>Nottingham, the documentary producer, isn’t sure such a similar recording session with music superstars could ever happen these days, especially with ever-present social media and armies of assistants.\u003c/p>\n\u003cp>“It was very ahead of its time in terms of it being the ’80s and technology. But I would hope it would serve as an inspiration for other artists to keep trying and do these things for great causes.”\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Greatest Night in Pop’ starts streaming on Netflix on Jan. 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951126/we-are-the-world-documentary-netflix-80s","authors":["byline_arts_13951126"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69","arts_990"],"tags":["arts_10493","arts_13672","arts_3324","arts_769","arts_585"],"featImg":"arts_13951138","label":"arts_140"},"arts_13940189":{"type":"posts","id":"arts_13940189","meta":{"index":"posts_1591205157","site":"arts","id":"13940189","score":null,"sort":[1704825485000]},"guestAuthors":[],"slug":"the-best-tv-of-early-2024-heres-what-to-watch-in-january","title":"The Best TV of Early 2024: Here's What to Watch in January","publishDate":1704825485,"format":"standard","headTitle":"The Best TV of Early 2024: Here’s What to Watch in January | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>This is the year everything comes back.\u003c/p>\n\u003cp>That’s the sentiment you can practically feel bursting from show business, as we start a new year freed from the shackles of two Hollywood strikes, easing away from compensation conflicts that threatened to hobble most of the country’s film and TV industry permanently.\u003c/p>\n\u003cp>[aside postid='arts_13939170']Given everything that’s happened so far, it feels like a miracle to note that there are still a fair number of interesting, powerful and compelling TV shows headed our way in 2024 — from the return of one of the most creatively ambitious crime dramas in recent memory, now set in Alaska, to a Marvel series mostly shorn of superheroes that may demonstrate exactly how the MCU should do TV from now on.\u003c/p>\n\u003cp>Here’s a list ticking off the best stuff coming to the small screen in the next few weeks. You can’t say you weren’t warned.\u003c/p>\n\u003ch3>\u003cem>Echo\u003c/em>, Disney+, Jan. 9\u003c/h3>\n\u003cfigure id=\"attachment_13940191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940191\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/echo-kingpin-and-maya-1_wide-6ef44d334c447f6e9657605de18910aab06c6a89-scaled-e1704823905895.jpe\" alt=\"An older white bald man sits across a table from a young woman of color in a leather jacket.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Vincent D’Onofrio as Wilson Fisk/Kingpin and Alaqua Cox as Maya Lopez in Marvel Studios’ ‘Echo.’ \u003ccite>(Photo by Chuck Zlotnick/ © 2023 MARVEL.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I know. I’m the one who was optimistic enough to say that dud of a Nick Fury series \u003cem>Secret Invasion \u003c/em>\u003ca href=\"https://www.npr.org/2023/06/21/1183516470/review-marvel-secret-invasion\">might be the answer to Marvel’s problems with streaming\u003c/a>. But it turns out, \u003cem>Echo\u003c/em>‘s violent, back-to-basics story, starring Alaqua Cox is just what the TV critic ordered.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here, Cox plays Maya Lopez\u003cem>,\u003c/em> also known as Echo, a skilled fighter and gang leader who debuted in Disney+’s \u003cem>Hawkeye\u003c/em> series. And this story — in which Lopez is forced to revisit her past after learning Vincent D’Onofrio’s Kingpin wanted her father killed — hearkens back to the heyday of Netflix’s \u003cem>Daredevil\u003c/em>-connected Marvel series, which mostly ditched flying people with capes for a more realistic, gritty style of action.\u003c/p>\n\u003cp>Lopez, like the actor who plays her, is Native American, was born deaf, and wears a prosthetic leg, breaking loads of barriers in representation through one powerful performance. She has to overcome a lot of assumptions and bridge a lot of different cultures while trying to discover exactly how she is going to make her former mentor pay for orchestrating the death of the person she loved most in the world.\u003c/p>\n\u003ch3>\u003cem>Criminal Record,\u003c/em> Apple TV+, Jan. 10\u003c/h3>\n\u003cfigure id=\"attachment_13940192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010301_wide-3be7389a5fc2aab6666703a04ca9e097affced2a-scaled-e1704824067986.jpg\" alt=\"An older white man and younger Black woman talk in the street, near a British industrial estate.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Peter Capaldi and Cush Jumbo in ‘Criminal Record.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring two of my favorite actors — \u003cem>The Good Wife/Good Fight\u003c/em> alum Cush Jumbo and former \u003cem>Doctor Who\u003c/em> star Peter Capaldi — this series explores in agonizing detail the effort by a young British police detective (Jumbo’s June Lenker) to learn if a police task force once led by Detective Chief Inspector Daniel Hegarty (a world-weary Capaldi) may have unfairly imprisoned a Black man years ago for murder. Along the way, we see Lenker forced to question her sensitivities to racism and sexism, while Hegarty fights to protect his legacy and his task force from accusations of corruption and prejudice. Best of all, there are no easy answers in this story, which delivers a delicious cat-and-mouse game between Lenker and Hegarty, with a surprising end.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>True Detective: Night Country, \u003c/strong>\u003c/em>\u003cstrong>HBO and Max, Jan. 14\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940193\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940193\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe\" alt=\"Two female police officers stand side-by-side wearing large padded winter coats and shining flashlights into the distance.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Reis and Jodie Foster in ‘True Detective: Night Country.’ \u003ccite>(Michele K. Short/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its \u003ca href=\"https://www.npr.org/2014/01/10/261412408/hbos-true-detective-brings-big-stars-to-tell-a-brutal-tale\">groundbreaking first season\u003c/a> in 2014 with movie stars Matthew McConaughey, Woody Harrelson and Michelle Monaghan, this anthology cop drama has struggled to live up to its potential as a genre shattering, high-end TV show. Fortunately, the new season remedies that problem with a typically excellent Jodie Foster as an irascible chief of police Liz Danvers in remote Ennis, Alaska. She’s forced to partner with a state trooper she hates — Evangeline Navarro, an Indigenous woman played by Kali Reis — to solve a mysterious mass murder at a scientific research station.\u003c/p>\n\u003cp>Series creator Nic Pizzolatto steps aside as showrunner for the first time, allowing Mexican producer and film director Issa Lopez to serve as showrunner, director, and lead writer — crafting a complex, enthralling story centered on women resisting abuse from men, Indigenous culture, mental health, mysticism and the odd things which can happen in a town shrouded by darkness for six months.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>After Midnight, \u003c/strong>\u003c/em>\u003cstrong>CBS, Jan. 16\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940194\" class=\"wp-caption aligncenter\" style=\"max-width: 2107px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940194\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e.jpe\" alt=\"A young woman with long blonde hair stands, wearing a suit, hand in one pocket, confidently looking towards the camera. She stands before a purple background.\" width=\"2107\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e.jpe 2107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-2048x1152.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-1920x1080.jpe 1920w\" sizes=\"(max-width: 2107px) 100vw, 2107px\">\u003cfigcaption class=\"wp-caption-text\">Comic Taylor Tomlinson will host ‘After Midnight.’ \u003ccite>(Ramona Rosales/CBS ©2024 CBS Broadcasting, Inc. All Rights Reserved.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late night TV stands at a crossroads, with stars like James Corden fleeing the genre as young people increasingly lose interest. I’m not sure if hiring\u003ca href=\"https://www.npr.org/2023/11/13/1212737800/heres-what-to-know-on-taylor-tomlinson-one-of-late-night-tvs-newest-hosts\"> youthful comic Taylor Tomlinson\u003c/a> to host a faux game show centered on internet culture will help any of that. But this program — a reboot of a former Comedy Central series called \u003cem>@midnight\u003c/em> that’s replacing Corden’s \u003cem>The Late Late Show\u003c/em> — might at least offer an alternative.\u003c/p>\n\u003cp>As I write this, critics haven’t yet seen the rebooted show, which originally featured a trio of comics joking around while answering a series of questions about internet culture. With Stephen Colbert and Funny or Die among a lengthy list of executive producers, one thing is certain: they will have few excuses for not bringing the funny.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>American Nightmare, \u003c/strong>\u003c/em>\u003cstrong>Netflix, Jan. 17\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940195\" class=\"wp-caption aligncenter\" style=\"max-width: 2045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849.jpe\" alt=\"A young attractive man and woman stand close together and smiling outside a home.\" width=\"2045\" height=\"1150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849.jpe 2045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-1920x1080.jpe 1920w\" sizes=\"(max-width: 2045px) 100vw, 2045px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Quinn and Denise Huskins in ‘American Nightmare.’ \u003ccite>(Courtesy of Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This three-episode docuseries is focused on a jarring story: When physical therapist Aaron Quinn called police with a bizarrely outlandish tale, claiming that someone had bound and drugged him and kidnapped his girlfriend Denise Huskins for ransom, the cops assumed what many would — that Quinn was lying to cover up something he had done. But the truth was much darker.\u003c/p>\n\u003cp>This Netflix docuseries briskly traces the evolution of Quinn’s story — including the re-appearance of Huskins a while later, seemingly unharmed — revealing the shocking, terrible consequences when a police department has unacceptable procedures for handling crimes involving relationships and gender violence, choosing easy explanations over believing potential victims.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Masters of the Air, \u003c/strong>\u003c/em>\u003cstrong>Apple TV+, Jan. 26\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940196\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010105_wide-5742ca35308a4273bc30926c4db3f5d04f634d72-scaled-e1704824534167.jpg\" alt=\"Two 1940s-era pilots stand before a biplane and gaze skyward.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Callum Turner and Austin Butler in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the two of them, Steven Spielberg and Tom Hanks have given us a long list of films and TV shows centered on the valor of American soldiers in World War II. So it makes a certain kind of sense they would return as executive producers on this limited series, which is a kind of \u003cem>Band of Brothers \u003c/em>set in the Air Force, depicting the true stories of an American bomber group in the Great War.\u003c/p>\n\u003cp>It’s a well-produced, at times gorily explicit drama featuring Austin Butler, working a buttery accent only slightly downshifted from his \u003cem>Elvis \u003c/em>patois, playing an airman trying to stay alive as U.S. forces face staggering losses while bombing Nazi Germany. At a time when audiences are trying to sort out complicated geopolitical conflicts in real life, Spielberg and Hanks once again offer simpler stories from a time when America was more likely to be considered the unambiguous hero.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Feud: Capote vs. the Swans, \u003c/strong>\u003c/em>\u003cstrong>FX, Jan. 31\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940197\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_gallery_tom-hollander_truman-capote_0113_v3_wide-ea5789a790e05be688a3da3a4e3bc7d1a790e61c-scaled-e1704824696713.jpg\" alt=\"A refined man in a colorful 1970s-era suit sits before a fireplace. He is bald and wearing glasses.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Tom Hollander as Truman Capote in ‘Feud: Capote vs. the Swans.’ \u003ccite>(Pari Dukovic/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It has taken Ryan Murphy nearly seven years to craft a successor to the first season of his \u003cem>Feud \u003c/em>anthology series, which debuted in 2017 with a take on the legendary rivalry between Bette Davis and Joan Crawford. This time, Murphy’s taking on author Truman Capote’s estrangement from a coterie of wealthy New York City socialites who were his gossipy friends — until he published stories widely recognized to be thinly-veiled accounts of their turbulent personal lives.\u003c/p>\n\u003cp>\u003cem>The White Lotus \u003c/em>alum Tom Hollander excellently reproduces the oddly-thin voice and cheeky mannerisms of mid-1960s-era Capote, who had already written \u003cem>Breakfast at Tiffany’s\u003c/em> and \u003cem>In Cold Blood\u003c/em>, but was desperate for a new literary triumph while drowning in addictions. With Naomi Watts, Diane Lane, Calista Flockhart and Chloë Sevigny on board, Murphy has packed his cast with big names who are sure to deliver big scenes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Still catching up on last year? Here’s a collection of \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/2023/12/19/1215673946/best-movies-tv-2023\">\u003cem>\u003cstrong>the best movies and TV of 2023, picked for you by NPR critics\u003c/strong>\u003c/em>\u003c/a>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+best+TV+of+early+2024%3A+Here%27s+what+to+watch+in+January&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"After two long strikes and the pandemic disruption, this is the year everything comes back — including a great ‘True Detective.‘","status":"publish","parent":0,"modified":1705002916,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1422},"headData":{"title":"Best TV to Watch and Stream in January 2024 | KQED","description":"After two long strikes and the pandemic disruption, this is the year everything comes back — including a great ‘True Detective.‘","ogTitle":"The Best TV of Early 2024: Here's What to Watch in January","ogDescription":"","ogImgId":"","twTitle":"The Best TV of Early 2024: Here's What to Watch in January","twDescription":"","twImgId":"","socialTitle":"Best TV to Watch and Stream in January 2024 %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Chuck Zlotnick","nprImageAgency":"Marvel Studios","nprStoryId":"1223565525","nprApiLink":"http://api.npr.org/query?id=1223565525&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/01/09/1223565525/best-tv-2024-what-to-watch?ft=nprml&f=1223565525","nprRetrievedStory":"1","nprPubDate":"Tue, 09 Jan 2024 12:29:00 -0500","nprStoryDate":"Tue, 09 Jan 2024 12:29:32 -0500","nprLastModifiedDate":"Tue, 09 Jan 2024 12:29:32 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940189/the-best-tv-of-early-2024-heres-what-to-watch-in-january","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the year everything comes back.\u003c/p>\n\u003cp>That’s the sentiment you can practically feel bursting from show business, as we start a new year freed from the shackles of two Hollywood strikes, easing away from compensation conflicts that threatened to hobble most of the country’s film and TV industry permanently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939170","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Given everything that’s happened so far, it feels like a miracle to note that there are still a fair number of interesting, powerful and compelling TV shows headed our way in 2024 — from the return of one of the most creatively ambitious crime dramas in recent memory, now set in Alaska, to a Marvel series mostly shorn of superheroes that may demonstrate exactly how the MCU should do TV from now on.\u003c/p>\n\u003cp>Here’s a list ticking off the best stuff coming to the small screen in the next few weeks. You can’t say you weren’t warned.\u003c/p>\n\u003ch3>\u003cem>Echo\u003c/em>, Disney+, Jan. 9\u003c/h3>\n\u003cfigure id=\"attachment_13940191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940191\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/echo-kingpin-and-maya-1_wide-6ef44d334c447f6e9657605de18910aab06c6a89-scaled-e1704823905895.jpe\" alt=\"An older white bald man sits across a table from a young woman of color in a leather jacket.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Vincent D’Onofrio as Wilson Fisk/Kingpin and Alaqua Cox as Maya Lopez in Marvel Studios’ ‘Echo.’ \u003ccite>(Photo by Chuck Zlotnick/ © 2023 MARVEL.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I know. I’m the one who was optimistic enough to say that dud of a Nick Fury series \u003cem>Secret Invasion \u003c/em>\u003ca href=\"https://www.npr.org/2023/06/21/1183516470/review-marvel-secret-invasion\">might be the answer to Marvel’s problems with streaming\u003c/a>. But it turns out, \u003cem>Echo\u003c/em>‘s violent, back-to-basics story, starring Alaqua Cox is just what the TV critic ordered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here, Cox plays Maya Lopez\u003cem>,\u003c/em> also known as Echo, a skilled fighter and gang leader who debuted in Disney+’s \u003cem>Hawkeye\u003c/em> series. And this story — in which Lopez is forced to revisit her past after learning Vincent D’Onofrio’s Kingpin wanted her father killed — hearkens back to the heyday of Netflix’s \u003cem>Daredevil\u003c/em>-connected Marvel series, which mostly ditched flying people with capes for a more realistic, gritty style of action.\u003c/p>\n\u003cp>Lopez, like the actor who plays her, is Native American, was born deaf, and wears a prosthetic leg, breaking loads of barriers in representation through one powerful performance. She has to overcome a lot of assumptions and bridge a lot of different cultures while trying to discover exactly how she is going to make her former mentor pay for orchestrating the death of the person she loved most in the world.\u003c/p>\n\u003ch3>\u003cem>Criminal Record,\u003c/em> Apple TV+, Jan. 10\u003c/h3>\n\u003cfigure id=\"attachment_13940192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940192\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/criminal_record_photo_010301_wide-3be7389a5fc2aab6666703a04ca9e097affced2a-scaled-e1704824067986.jpg\" alt=\"An older white man and younger Black woman talk in the street, near a British industrial estate.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Peter Capaldi and Cush Jumbo in ‘Criminal Record.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring two of my favorite actors — \u003cem>The Good Wife/Good Fight\u003c/em> alum Cush Jumbo and former \u003cem>Doctor Who\u003c/em> star Peter Capaldi — this series explores in agonizing detail the effort by a young British police detective (Jumbo’s June Lenker) to learn if a police task force once led by Detective Chief Inspector Daniel Hegarty (a world-weary Capaldi) may have unfairly imprisoned a Black man years ago for murder. Along the way, we see Lenker forced to question her sensitivities to racism and sexism, while Hegarty fights to protect his legacy and his task force from accusations of corruption and prejudice. Best of all, there are no easy answers in this story, which delivers a delicious cat-and-mouse game between Lenker and Hegarty, with a surprising end.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>True Detective: Night Country, \u003c/strong>\u003c/em>\u003cstrong>HBO and Max, Jan. 14\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940193\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940193\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe\" alt=\"Two female police officers stand side-by-side wearing large padded winter coats and shining flashlights into the distance.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Reis and Jodie Foster in ‘True Detective: Night Country.’ \u003ccite>(Michele K. Short/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since its \u003ca href=\"https://www.npr.org/2014/01/10/261412408/hbos-true-detective-brings-big-stars-to-tell-a-brutal-tale\">groundbreaking first season\u003c/a> in 2014 with movie stars Matthew McConaughey, Woody Harrelson and Michelle Monaghan, this anthology cop drama has struggled to live up to its potential as a genre shattering, high-end TV show. Fortunately, the new season remedies that problem with a typically excellent Jodie Foster as an irascible chief of police Liz Danvers in remote Ennis, Alaska. She’s forced to partner with a state trooper she hates — Evangeline Navarro, an Indigenous woman played by Kali Reis — to solve a mysterious mass murder at a scientific research station.\u003c/p>\n\u003cp>Series creator Nic Pizzolatto steps aside as showrunner for the first time, allowing Mexican producer and film director Issa Lopez to serve as showrunner, director, and lead writer — crafting a complex, enthralling story centered on women resisting abuse from men, Indigenous culture, mental health, mysticism and the odd things which can happen in a town shrouded by darkness for six months.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>After Midnight, \u003c/strong>\u003c/em>\u003cstrong>CBS, Jan. 16\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940194\" class=\"wp-caption aligncenter\" style=\"max-width: 2107px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940194\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e.jpe\" alt=\"A young woman with long blonde hair stands, wearing a suit, hand in one pocket, confidently looking towards the camera. She stands before a purple background.\" width=\"2107\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e.jpe 2107w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-2048x1152.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/after-midnight-tomlinson-2475955_0160b_wide-d32462aeddd0982d6aeba8d918593c8a65a3dc5e-1920x1080.jpe 1920w\" sizes=\"(max-width: 2107px) 100vw, 2107px\">\u003cfigcaption class=\"wp-caption-text\">Comic Taylor Tomlinson will host ‘After Midnight.’ \u003ccite>(Ramona Rosales/CBS ©2024 CBS Broadcasting, Inc. All Rights Reserved.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late night TV stands at a crossroads, with stars like James Corden fleeing the genre as young people increasingly lose interest. I’m not sure if hiring\u003ca href=\"https://www.npr.org/2023/11/13/1212737800/heres-what-to-know-on-taylor-tomlinson-one-of-late-night-tvs-newest-hosts\"> youthful comic Taylor Tomlinson\u003c/a> to host a faux game show centered on internet culture will help any of that. But this program — a reboot of a former Comedy Central series called \u003cem>@midnight\u003c/em> that’s replacing Corden’s \u003cem>The Late Late Show\u003c/em> — might at least offer an alternative.\u003c/p>\n\u003cp>As I write this, critics haven’t yet seen the rebooted show, which originally featured a trio of comics joking around while answering a series of questions about internet culture. With Stephen Colbert and Funny or Die among a lengthy list of executive producers, one thing is certain: they will have few excuses for not bringing the funny.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>American Nightmare, \u003c/strong>\u003c/em>\u003cstrong>Netflix, Jan. 17\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940195\" class=\"wp-caption aligncenter\" style=\"max-width: 2045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940195\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849.jpe\" alt=\"A young attractive man and woman stand close together and smiling outside a home.\" width=\"2045\" height=\"1150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849.jpe 2045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/american-nightmare-1_wide-07db294622062f7b61a93ba9df739fb064625849-1920x1080.jpe 1920w\" sizes=\"(max-width: 2045px) 100vw, 2045px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Quinn and Denise Huskins in ‘American Nightmare.’ \u003ccite>(Courtesy of Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This three-episode docuseries is focused on a jarring story: When physical therapist Aaron Quinn called police with a bizarrely outlandish tale, claiming that someone had bound and drugged him and kidnapped his girlfriend Denise Huskins for ransom, the cops assumed what many would — that Quinn was lying to cover up something he had done. But the truth was much darker.\u003c/p>\n\u003cp>This Netflix docuseries briskly traces the evolution of Quinn’s story — including the re-appearance of Huskins a while later, seemingly unharmed — revealing the shocking, terrible consequences when a police department has unacceptable procedures for handling crimes involving relationships and gender violence, choosing easy explanations over believing potential victims.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Masters of the Air, \u003c/strong>\u003c/em>\u003cstrong>Apple TV+, Jan. 26\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940196\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/masters_of_the_air_photo_010105_wide-5742ca35308a4273bc30926c4db3f5d04f634d72-scaled-e1704824534167.jpg\" alt=\"Two 1940s-era pilots stand before a biplane and gaze skyward.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Callum Turner and Austin Butler in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between the two of them, Steven Spielberg and Tom Hanks have given us a long list of films and TV shows centered on the valor of American soldiers in World War II. So it makes a certain kind of sense they would return as executive producers on this limited series, which is a kind of \u003cem>Band of Brothers \u003c/em>set in the Air Force, depicting the true stories of an American bomber group in the Great War.\u003c/p>\n\u003cp>It’s a well-produced, at times gorily explicit drama featuring Austin Butler, working a buttery accent only slightly downshifted from his \u003cem>Elvis \u003c/em>patois, playing an airman trying to stay alive as U.S. forces face staggering losses while bombing Nazi Germany. At a time when audiences are trying to sort out complicated geopolitical conflicts in real life, Spielberg and Hanks once again offer simpler stories from a time when America was more likely to be considered the unambiguous hero.\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Feud: Capote vs. the Swans, \u003c/strong>\u003c/em>\u003cstrong>FX, Jan. 31\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13940197\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940197\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/02_gallery_tom-hollander_truman-capote_0113_v3_wide-ea5789a790e05be688a3da3a4e3bc7d1a790e61c-scaled-e1704824696713.jpg\" alt=\"A refined man in a colorful 1970s-era suit sits before a fireplace. He is bald and wearing glasses.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Tom Hollander as Truman Capote in ‘Feud: Capote vs. the Swans.’ \u003ccite>(Pari Dukovic/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It has taken Ryan Murphy nearly seven years to craft a successor to the first season of his \u003cem>Feud \u003c/em>anthology series, which debuted in 2017 with a take on the legendary rivalry between Bette Davis and Joan Crawford. This time, Murphy’s taking on author Truman Capote’s estrangement from a coterie of wealthy New York City socialites who were his gossipy friends — until he published stories widely recognized to be thinly-veiled accounts of their turbulent personal lives.\u003c/p>\n\u003cp>\u003cem>The White Lotus \u003c/em>alum Tom Hollander excellently reproduces the oddly-thin voice and cheeky mannerisms of mid-1960s-era Capote, who had already written \u003cem>Breakfast at Tiffany’s\u003c/em> and \u003cem>In Cold Blood\u003c/em>, but was desperate for a new literary triumph while drowning in addictions. With Naomi Watts, Diane Lane, Calista Flockhart and Chloë Sevigny on board, Murphy has packed his cast with big names who are sure to deliver big scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Still catching up on last year? Here’s a collection of \u003c/em>\u003c/strong>\u003ca href=\"https://www.npr.org/2023/12/19/1215673946/best-movies-tv-2023\">\u003cem>\u003cstrong>the best movies and TV of 2023, picked for you by NPR critics\u003c/strong>\u003c/em>\u003c/a>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+best+TV+of+early+2024%3A+Here%27s+what+to+watch+in+January&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940189/the-best-tv-of-early-2024-heres-what-to-watch-in-january","authors":["92"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_9222","arts_8481","arts_3114","arts_8237","arts_8350","arts_20624","arts_3324","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13940202","label":"arts_140"},"arts_13938942":{"type":"posts","id":"arts_13938942","meta":{"index":"posts_1591205157","site":"arts","id":"13938942","score":null,"sort":[1701809665000]},"guestAuthors":[],"slug":"leave-the-world-behind-sam-esmail-thriller-disaster-satire-julia-roberts","title":"‘Leave the World Behind’ Is a Terrific Blend of Thriller, Disaster and Satire","publishDate":1701809665,"format":"standard","headTitle":"‘Leave the World Behind’ Is a Terrific Blend of Thriller, Disaster and Satire | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Imagine that it’s close to midnight and there’s a knock at the door of your luxurious weekend rental home. A man is standing there, calmly apologizing. He says it’s his home and that he and his daughter need your help. He’s also dressed immaculately in a tux.\u003c/p>\n\u003cp>What would you do?\u003c/p>\n\u003cp>[aside postid='arts_13938143']Did the tux make a difference? Would the man’s race?\u003c/p>\n\u003cp>That early scene is when Netflix’s \u003cem>Leave the World Behind\u003c/em> really kicks into gear and never slackens as this terrific, apocalyptic, psychological thriller races to its conclusion, exploring race, affluence and responsibility along the way.\u003c/p>\n\u003cp>The luxurious home becomes a castle of sorts as the outside world crumbles. The man who says he’s the owner tries to explain why he’s turned up. “Under the circumstances, we thought you’d understand,” he says. But understanding is in short supply here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adapted from Rumaan Alam’s acclaimed novel, the movie is set against an end-of-days disaster in which technology — Wi-Fi, TV, phones, internet — has gone silent due to a cyberattack and there’s been a massive blackout.\u003c/p>\n\u003cp>Well-to-do Amanda (a tart Julia Roberts) and her \u003cem>Atlantic\u003c/em> magazine-quoting husband Clay (a hangdog Ethan Hawke) must work with the even-more-well-off G.H. (a calmly sophisticated Mahershala Ali) and his savvy daughter Ruth, (a superb Myha’la). The racial divide easily swamps their joint class affiliation.\u003c/p>\n\u003cp>Also along for the disaster are Amanda and Clay’s children, a \u003cem>Friends\u003c/em>-obsessed daughter (a soulful Farrah Mackenzie, who even wears her hair in a “Rachel” ‘do) and her older, slightly bratty 16-year-old brother (a brooding Charlie Evans).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cMVBi_e8o-Y\u003c/p>\n\u003cp>It’s a story brilliantly adapted and directed by Sam Esmail, showrunner of \u003cem>Mr. Robot\u003c/em>, who has made \u003cem>Leave the World Behind\u003c/em> into a homage of Alfred Hitchcock, complete with the image of a man trying to outrun a crashing plane and using the master’s discordant loud music. Esmail, who manages to make a group of deer appear sinister, even makes a Hitchcockian cameo as a corpse on a beach.\u003c/p>\n\u003cp>The director paces the deepening dread flawlessly and there are visual delights throughout, like when the family starts off on their adventure with their car exiting at “Point Comfort.” The camera often swirls and soars through glass cracks or holes in roofs like an uneasy bird, or parks itself at strange angles.\u003c/p>\n\u003cp>[aside postid='arts_13938158']The mysterious catastrophe — ships beach themselves, driverless cars crash like lemmings — sloughs away any pretense at civility, leaving the adults and children to turn on each other. Amanda, in particular, reveals a dark side and her husband — before the disaster, a can’t-we-all-get-along bro — abandons a hysterical survivor by the side of the road. Community is shattered, guns come out and protect-at-all-costs is the motto of the day.\u003c/p>\n\u003cp>The acting is first rate and it needs to be — this is a drama of manners and secrets, and each sigh or glance reveals so much. We haven’t seen a nasty Roberts character in a while and Ali balances sophistication and slyness artfully. Together, they have some of the film’s best scenes.\u003c/p>\n\u003cp>But a warning of sorts: It’s best to click play on your remote knowing that the movie is more a satire than a true action-survival movie — the open-ended ending may divide viewers. Click anyway because the journey never drags. And don’t be surprised if there’s a jump in sales of survival tools this holiday season.\u003c/p>\n\u003cp>\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\">\u003cem>‘Leave the World Behind’ begins streaming on Netflix on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Community is shattered, guns come out and protect-at-all-costs is the motto of the day in Sam Esmail’s Hitchcockian thriller.","status":"publish","parent":0,"modified":1705003017,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":658},"headData":{"title":"Review: ‘Leave the World Behind’ Is a Brilliant Hitchcockian Thriller | KQED","description":"Community is shattered, guns come out and protect-at-all-costs is the motto of the day in Sam Esmail’s Hitchcockian thriller.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Review: ‘Leave the World Behind’ Is a Brilliant Hitchcockian Thriller %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Mark Kennedy, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938942/leave-the-world-behind-sam-esmail-thriller-disaster-satire-julia-roberts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine that it’s close to midnight and there’s a knock at the door of your luxurious weekend rental home. A man is standing there, calmly apologizing. He says it’s his home and that he and his daughter need your help. He’s also dressed immaculately in a tux.\u003c/p>\n\u003cp>What would you do?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938143","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Did the tux make a difference? Would the man’s race?\u003c/p>\n\u003cp>That early scene is when Netflix’s \u003cem>Leave the World Behind\u003c/em> really kicks into gear and never slackens as this terrific, apocalyptic, psychological thriller races to its conclusion, exploring race, affluence and responsibility along the way.\u003c/p>\n\u003cp>The luxurious home becomes a castle of sorts as the outside world crumbles. The man who says he’s the owner tries to explain why he’s turned up. “Under the circumstances, we thought you’d understand,” he says. But understanding is in short supply here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adapted from Rumaan Alam’s acclaimed novel, the movie is set against an end-of-days disaster in which technology — Wi-Fi, TV, phones, internet — has gone silent due to a cyberattack and there’s been a massive blackout.\u003c/p>\n\u003cp>Well-to-do Amanda (a tart Julia Roberts) and her \u003cem>Atlantic\u003c/em> magazine-quoting husband Clay (a hangdog Ethan Hawke) must work with the even-more-well-off G.H. (a calmly sophisticated Mahershala Ali) and his savvy daughter Ruth, (a superb Myha’la). The racial divide easily swamps their joint class affiliation.\u003c/p>\n\u003cp>Also along for the disaster are Amanda and Clay’s children, a \u003cem>Friends\u003c/em>-obsessed daughter (a soulful Farrah Mackenzie, who even wears her hair in a “Rachel” ‘do) and her older, slightly bratty 16-year-old brother (a brooding Charlie Evans).\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/cMVBi_e8o-Y'\n title='//www.youtube.com/embed/cMVBi_e8o-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s a story brilliantly adapted and directed by Sam Esmail, showrunner of \u003cem>Mr. Robot\u003c/em>, who has made \u003cem>Leave the World Behind\u003c/em> into a homage of Alfred Hitchcock, complete with the image of a man trying to outrun a crashing plane and using the master’s discordant loud music. Esmail, who manages to make a group of deer appear sinister, even makes a Hitchcockian cameo as a corpse on a beach.\u003c/p>\n\u003cp>The director paces the deepening dread flawlessly and there are visual delights throughout, like when the family starts off on their adventure with their car exiting at “Point Comfort.” The camera often swirls and soars through glass cracks or holes in roofs like an uneasy bird, or parks itself at strange angles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938158","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The mysterious catastrophe — ships beach themselves, driverless cars crash like lemmings — sloughs away any pretense at civility, leaving the adults and children to turn on each other. Amanda, in particular, reveals a dark side and her husband — before the disaster, a can’t-we-all-get-along bro — abandons a hysterical survivor by the side of the road. Community is shattered, guns come out and protect-at-all-costs is the motto of the day.\u003c/p>\n\u003cp>The acting is first rate and it needs to be — this is a drama of manners and secrets, and each sigh or glance reveals so much. We haven’t seen a nasty Roberts character in a while and Ali balances sophistication and slyness artfully. Together, they have some of the film’s best scenes.\u003c/p>\n\u003cp>But a warning of sorts: It’s best to click play on your remote knowing that the movie is more a satire than a true action-survival movie — the open-ended ending may divide viewers. Click anyway because the journey never drags. And don’t be surprised if there’s a jump in sales of survival tools this holiday season.\u003c/p>\n\u003cp>\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\">\u003cem>‘Leave the World Behind’ begins streaming on Netflix on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938942/leave-the-world-behind-sam-esmail-thriller-disaster-satire-julia-roberts","authors":["byline_arts_13938942"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_3324","arts_585"],"featImg":"arts_13938943","label":"arts_140"},"arts_13938829":{"type":"posts","id":"arts_13938829","meta":{"index":"posts_1591205157","site":"arts","id":"13938829","score":null,"sort":[1701715311000]},"guestAuthors":[],"slug":"squid-game-the-challenge-review-netflix-worst-reality-shows","title":"‘The Challenge’ Is Understanding Why the ‘Squid Game’ Game Show Was Green-Lit","publishDate":1701715311,"format":"standard","headTitle":"‘The Challenge’ Is Understanding Why the ‘Squid Game’ Game Show Was Green-Lit | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It is one thing to extend a successful television series in a way that drains its meaning and dilutes its impact. It is another to drown it in greed and to gleefully embrace what it diagnoses as economically and spiritually catastrophic.\u003c/p>\n\u003cp>\u003cem>Squid Game\u003c/em>, the South Korean drama series that was a sensation on Netflix in September 2021, is a work of despair. In it, hundreds of players who are deeply in debt are invited to participate in a secretive competition with an enormous cash prize for those who successfully complete a series of games. What they don’t realize until the first game is underway is that as they are eliminated from each game, they will be murdered.\u003c/p>\n\u003cp>[aside postid='arts_13938662']The first episode, “Red Light Green Light,” finds 456 people in an enormous open space playing the childhood game in which, if you are caught moving after you’re told to freeze, you are out. But in this case, when you are out, you are shot dead by enormous guns embedded in the walls. Shot in the head, the neck, the back. As the group realizes what’s happening, many panic and run for the exit, but of course, this violates the rules as well, so they are massacred as they try to escape. They end as a pile of dead bodies against the doors, their identical green sweatsuits drenched in blood. Those who survive, owing to their desperate circumstances, eventually play on. How inhuman it is to conduct this game, to have to play it, and especially to watch it, those are the things that give the scene and the series such weight.\u003c/p>\n\u003cp>At some point, some person, some fool, somewhere, in some office, flush with the success of the series both critically and commercially, decided it would be entertaining to create a game show — a real game show — that imitated this scenario as closely as possible without actually murdering anyone. And so you have \u003cem>Squid Game: The Challenge\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O61C8zc8Znk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It brings 456 real people to a vast dormitory designed to look as much as possible like the one in the show. And it begins, too, with the game of “Red Light Green Light.” It would have been easy to design \u003cem>The Challenge\u003c/em> such that if you are caught moving, your number is called and you are simply out of the game. Had they stopped there, this effort would be empty and pointless, but perhaps only that. Instead, when a player is caught moving, a squib inside their shirt explodes, splattering their chest and neck with black fluid, and they fall over and play dead. It is meant to look as much like a true massacre by gunfire as they could manage, although someone seems to have drawn the line at fake red blood in a meaningless gesture toward, one can only assume, some simulacrum of good taste.\u003c/p>\n\u003cp>[aside postid='arts_13938155']The original \u003cem>Squid Game \u003c/em>indicts, above all, anyone who would find such a competition entertaining. The villains are the people who watch, who plan, and who enjoy this spectacle. So what makes \u003cem>The Challenge \u003c/em>so creatively misbegotten is that it suggests at best (or worst?) a cynical effort to exploit the most superficial elements of \u003cem>Squid Game \u003c/em>while entirely missing its point, and at worst (or best?) an ignorant failure to understand what the show is even supposed to be about. These games are not particularly exciting, in and of themselves. The murders \u003cem>are\u003c/em> the story; the brutality is the one thing that makes it compelling. And the only reason the fictional game has been designed by its evil creators is that they want to watch people scramble to save their very lives. The deaths are not a decoration; they are the fabric of the thing.\u003c/p>\n\u003cp>And so what makes \u003cem>The Challenge\u003c/em> so bad is that outside of the simulated killings and their shock value, it’s dull. There are too many contestants to get to know and no central characters to grab onto like the ones in \u003cem>Squid Game\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13938832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245.jpg\" alt=\"A man in a green tracksuit with a yellow stripe down the side crouches on a shiny black floor, his head in his hands. The walls are black with strip lighting.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yep, this pretty much sums it up. \u003ccite>(Courtesy of Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>The Challenge\u003c/em> feel \u003cem>wrong\u003c/em> is that a competition where the first episode is a whimsical game of “mass shooting and panic,” complete with squibs, complete with splatter, should never have made it past the very first meeting. That nobody said no, that nobody said “there’s an excellent chance that we will be dropping these episodes in the aftermath of a real mass shooting, and simulating one for entertainment will seem like an extraordinary violation of bare-bones decency” is an indictment of everyone involved. Someone — everyone — has lost the plot. (Not to mention \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/squid-game-the-challenge-lawsuit-injuries-1235676557/\">what some contestants claim were\u003c/a>, in real life, apparently atrocious conditions.)\u003c/p>\n\u003cp>In a media environment in which creative people manage, against all odds, to do work that is daring and interesting — like \u003cem>Squid Game \u003c/em>was — it is brutal to see the same company that drove that work’s success turn around and treat it so carelessly. It’s not the first time Netflix has tried to have its cake and eat it too; recent seasons of \u003cem>Black Mirror \u003c/em>that aired on Netflix have skewered formats and practices straight out of the service’s own playbook, to the point where a Netflix clone called Streamberry was one of the primary villains of the sixth season. But at least in that one, as far as we know, nobody got hurt.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Challenge%27+is+understanding+why+this+%27Squid+Game%27+game+show+was+green-lit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘Squid Game: The Challenge’ exists despite the original show's indictment of anyone who would find such a thing entertaining.","status":"publish","parent":0,"modified":1705003029,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":996},"headData":{"title":"‘Squid Game: The Challenge’ Misses the Original Show’s Point | KQED","description":"‘Squid Game: The Challenge’ exists despite the original show's indictment of anyone who would find such a thing entertaining.","ogTitle":"‘The Challenge’ Is Understanding Why This ‘Squid Game’ Game Show Was Green-Lit","ogDescription":"","ogImgId":"","twTitle":"‘The Challenge’ Is Understanding Why This ‘Squid Game’ Game Show Was Green-Lit","twDescription":"","twImgId":"","socialTitle":"‘Squid Game: The Challenge’ Misses the Original Show’s Point %%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Linda Holmes","nprImageAgency":"Netflix","nprStoryId":"1216466109","nprApiLink":"http://api.npr.org/query?id=1216466109&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/02/1216466109/squid-game-the-challenge-netflix?ft=nprml&f=1216466109","nprRetrievedStory":"1","nprPubDate":"Sat, 02 Dec 2023 07:00:00 -0500","nprStoryDate":"Sat, 02 Dec 2023 07:00:27 -0500","nprLastModifiedDate":"Sat, 02 Dec 2023 07:00:27 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938829/squid-game-the-challenge-review-netflix-worst-reality-shows","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is one thing to extend a successful television series in a way that drains its meaning and dilutes its impact. It is another to drown it in greed and to gleefully embrace what it diagnoses as economically and spiritually catastrophic.\u003c/p>\n\u003cp>\u003cem>Squid Game\u003c/em>, the South Korean drama series that was a sensation on Netflix in September 2021, is a work of despair. In it, hundreds of players who are deeply in debt are invited to participate in a secretive competition with an enormous cash prize for those who successfully complete a series of games. What they don’t realize until the first game is underway is that as they are eliminated from each game, they will be murdered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938662","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The first episode, “Red Light Green Light,” finds 456 people in an enormous open space playing the childhood game in which, if you are caught moving after you’re told to freeze, you are out. But in this case, when you are out, you are shot dead by enormous guns embedded in the walls. Shot in the head, the neck, the back. As the group realizes what’s happening, many panic and run for the exit, but of course, this violates the rules as well, so they are massacred as they try to escape. They end as a pile of dead bodies against the doors, their identical green sweatsuits drenched in blood. Those who survive, owing to their desperate circumstances, eventually play on. How inhuman it is to conduct this game, to have to play it, and especially to watch it, those are the things that give the scene and the series such weight.\u003c/p>\n\u003cp>At some point, some person, some fool, somewhere, in some office, flush with the success of the series both critically and commercially, decided it would be entertaining to create a game show — a real game show — that imitated this scenario as closely as possible without actually murdering anyone. And so you have \u003cem>Squid Game: The Challenge\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/O61C8zc8Znk'\n title='//www.youtube.com/embed/O61C8zc8Znk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It brings 456 real people to a vast dormitory designed to look as much as possible like the one in the show. And it begins, too, with the game of “Red Light Green Light.” It would have been easy to design \u003cem>The Challenge\u003c/em> such that if you are caught moving, your number is called and you are simply out of the game. Had they stopped there, this effort would be empty and pointless, but perhaps only that. Instead, when a player is caught moving, a squib inside their shirt explodes, splattering their chest and neck with black fluid, and they fall over and play dead. It is meant to look as much like a true massacre by gunfire as they could manage, although someone seems to have drawn the line at fake red blood in a meaningless gesture toward, one can only assume, some simulacrum of good taste.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938155","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The original \u003cem>Squid Game \u003c/em>indicts, above all, anyone who would find such a competition entertaining. The villains are the people who watch, who plan, and who enjoy this spectacle. So what makes \u003cem>The Challenge \u003c/em>so creatively misbegotten is that it suggests at best (or worst?) a cynical effort to exploit the most superficial elements of \u003cem>Squid Game \u003c/em>while entirely missing its point, and at worst (or best?) an ignorant failure to understand what the show is even supposed to be about. These games are not particularly exciting, in and of themselves. The murders \u003cem>are\u003c/em> the story; the brutality is the one thing that makes it compelling. And the only reason the fictional game has been designed by its evil creators is that they want to watch people scramble to save their very lives. The deaths are not a decoration; they are the fabric of the thing.\u003c/p>\n\u003cp>And so what makes \u003cem>The Challenge\u003c/em> so bad is that outside of the simulated killings and their shock value, it’s dull. There are too many contestants to get to know and no central characters to grab onto like the ones in \u003cem>Squid Game\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13938832\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245.jpg\" alt=\"A man in a green tracksuit with a yellow stripe down the side crouches on a shiny black floor, his head in his hands. The walls are black with strip lighting.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/sgtc_s1_bridge_unit_03275r3_custom-0f9413fba1d5501cb1e354f43cc77287b01ca34c-scaled-e1701714682245-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yep, this pretty much sums it up. \u003ccite>(Courtesy of Netflix © 2023)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>The Challenge\u003c/em> feel \u003cem>wrong\u003c/em> is that a competition where the first episode is a whimsical game of “mass shooting and panic,” complete with squibs, complete with splatter, should never have made it past the very first meeting. That nobody said no, that nobody said “there’s an excellent chance that we will be dropping these episodes in the aftermath of a real mass shooting, and simulating one for entertainment will seem like an extraordinary violation of bare-bones decency” is an indictment of everyone involved. Someone — everyone — has lost the plot. (Not to mention \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/squid-game-the-challenge-lawsuit-injuries-1235676557/\">what some contestants claim were\u003c/a>, in real life, apparently atrocious conditions.)\u003c/p>\n\u003cp>In a media environment in which creative people manage, against all odds, to do work that is daring and interesting — like \u003cem>Squid Game \u003c/em>was — it is brutal to see the same company that drove that work’s success turn around and treat it so carelessly. It’s not the first time Netflix has tried to have its cake and eat it too; recent seasons of \u003cem>Black Mirror \u003c/em>that aired on Netflix have skewered formats and practices straight out of the service’s own playbook, to the point where a Netflix clone called Streamberry was one of the primary villains of the sixth season. But at least in that one, as far as we know, nobody got hurt.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Challenge%27+is+understanding+why+this+%27Squid+Game%27+game+show+was+green-lit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938829/squid-game-the-challenge-review-netflix-worst-reality-shows","authors":["byline_arts_13938829"],"categories":["arts_1","arts_2303","arts_75","arts_990"],"tags":["arts_3324"],"featImg":"arts_13938830","label":"arts"},"arts_13938143":{"type":"posts","id":"arts_13938143","meta":{"index":"posts_1591205157","site":"arts","id":"13938143","score":null,"sort":[1700164764000]},"guestAuthors":[],"slug":"may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore","title":"Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy","publishDate":1700164764,"format":"standard","headTitle":"Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If you were in reach of a TV or a tabloid in the ’90s, you probably remember the case of Mary Kay Letourneau, the Washington state schoolteacher who was convicted of raping her sixth-grade student Vili Fualaau.\u003c/p>\n\u003cp>Fualaau was 12 when Letourneau, 34, first had sex with him. They had two children, one of whom was born while Letourneau was in prison. After her release in 2004, she and the now-adult Fualauu wed and were married for 14 years until their separation. Letourneau died of cancer in 2020.\u003c/p>\n\u003cp>[aside postid='arts_13937866']The dark and sometimes disturbingly funny new movie \u003cem>May December\u003c/em> was inspired by the Letourneau-Fualaau story, though it never mentions them by name. \u003ca href=\"https://www.npr.org/2013/05/23/182597401/julianne-moore-relishing-complicated-characters\">Julianne Moore\u003c/a> plays Gracie Atherton-Yoo, who’s in her late 50s, and Charles Melton plays her husband, Joe Yoo, who’s in his 30s. They have three college-age children and a beautiful home in Savannah, Ga., where their close-knit community has long accepted them despite the scandal that broke out when their relationship came to light two decades earlier.\u003c/p>\n\u003cp>The director \u003ca href=\"https://www.npr.org/2007/11/19/16419557/todd-haynes-exploring-six-degrees-of-dylan\">Todd Haynes\u003c/a>, working from a smart, layered script by Samy Burch, comes at this material from a fascinating angle. A famous TV actor named Elizabeth Berry, played by the famous movie actor \u003ca href=\"https://www.npr.org/2010/11/29/131667596/to-become-a-black-swan-portman-had-to-go-dark\">Natalie Portman\u003c/a>, is set to play Gracie in an independent film. Elizabeth has come to Savannah to do some research by spending time with the couple, who are hoping they’ll be depicted sympathetically. In one scene, Elizabeth attends a barbeque at Gracie and Joe’s house and strikes up a conversation about them with one of their friends, who says what she most loves about Gracie is that she’s an “unapologetic” woman who “always knows what she wants.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>[aside postid='arts_13937140']But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>[aside postid='arts_13937499']At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Todd Haynes’ dark and disturbingly funny new movie recalls the Mary Kay Letourneau scandal.","status":"publish","parent":0,"modified":1705003090,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":860},"headData":{"title":"Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy | KQED","description":"Todd Haynes’ dark and disturbingly funny new movie recalls the Mary Kay Letourneau scandal.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Francois Duhamel","nprByline":"Justin Chang","nprImageAgency":"Netflix","nprStoryId":"1213186005","nprApiLink":"http://api.npr.org/query?id=1213186005&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/11/17/1213186005/may-december-review-julianne-moore-natalie-portman-todd-haynes?ft=nprml&f=1213186005","nprRetrievedStory":"1","nprPubDate":"Thu, 16 Nov 2023 12:25:00 -0500","nprStoryDate":"Thu, 16 Nov 2023 12:25:16 -0500","nprLastModifiedDate":"Thu, 16 Nov 2023 12:25:16 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were in reach of a TV or a tabloid in the ’90s, you probably remember the case of Mary Kay Letourneau, the Washington state schoolteacher who was convicted of raping her sixth-grade student Vili Fualaau.\u003c/p>\n\u003cp>Fualaau was 12 when Letourneau, 34, first had sex with him. They had two children, one of whom was born while Letourneau was in prison. After her release in 2004, she and the now-adult Fualauu wed and were married for 14 years until their separation. Letourneau died of cancer in 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937866","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The dark and sometimes disturbingly funny new movie \u003cem>May December\u003c/em> was inspired by the Letourneau-Fualaau story, though it never mentions them by name. \u003ca href=\"https://www.npr.org/2013/05/23/182597401/julianne-moore-relishing-complicated-characters\">Julianne Moore\u003c/a> plays Gracie Atherton-Yoo, who’s in her late 50s, and Charles Melton plays her husband, Joe Yoo, who’s in his 30s. They have three college-age children and a beautiful home in Savannah, Ga., where their close-knit community has long accepted them despite the scandal that broke out when their relationship came to light two decades earlier.\u003c/p>\n\u003cp>The director \u003ca href=\"https://www.npr.org/2007/11/19/16419557/todd-haynes-exploring-six-degrees-of-dylan\">Todd Haynes\u003c/a>, working from a smart, layered script by Samy Burch, comes at this material from a fascinating angle. A famous TV actor named Elizabeth Berry, played by the famous movie actor \u003ca href=\"https://www.npr.org/2010/11/29/131667596/to-become-a-black-swan-portman-had-to-go-dark\">Natalie Portman\u003c/a>, is set to play Gracie in an independent film. Elizabeth has come to Savannah to do some research by spending time with the couple, who are hoping they’ll be depicted sympathetically. In one scene, Elizabeth attends a barbeque at Gracie and Joe’s house and strikes up a conversation about them with one of their friends, who says what she most loves about Gracie is that she’s an “unapologetic” woman who “always knows what she wants.”\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/4VdAParM4h8'\n title='//www.youtube.com/embed/4VdAParM4h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937140","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937499","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore","authors":["byline_arts_13938143"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_3324","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13938144","label":"arts_140"},"arts_13937708":{"type":"posts","id":"arts_13937708","meta":{"index":"posts_1591205157","site":"arts","id":"13937708","score":null,"sort":[1699382692000]},"guestAuthors":[],"slug":"the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender","title":"In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight","publishDate":1699382692,"format":"standard","headTitle":"In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>[aside postid='arts_34570']As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vs1epO_zLG8\u003c/p>\n\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>[aside postid='arts_13937525']In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13937499']Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\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>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The new Michael Fassbender movie is a terse, minimalist thriller in the cool, cold-hearted tradition of ‘Le Samouraï.’","status":"publish","parent":0,"modified":1705003129,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":838},"headData":{"title":"‘The Killer’: David Fincher and Trent Reznor Go Dark Once Again | KQED","description":"The new Michael Fassbender movie is a terse, minimalist thriller in the cool, cold-hearted tradition of ‘Le Samouraï.’","ogTitle":"In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight","ogDescription":"","ogImgId":"","twTitle":"In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight","twDescription":"","twImgId":"","socialTitle":"‘The Killer’: David Fincher and Trent Reznor Go Dark Once Again%%page%% %%sep%% KQED"},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_34570","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\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/vs1epO_zLG8'\n title='//www.youtube.com/embed/vs1epO_zLG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937525","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937499","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\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>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender","authors":["byline_arts_13937708"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75","arts_990"],"tags":["arts_3324","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13937722","label":"arts_140"},"arts_13937572":{"type":"posts","id":"arts_13937572","meta":{"index":"posts_1591205157","site":"arts","id":"13937572","score":null,"sort":[1699041905000]},"guestAuthors":[],"slug":"all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale","title":"'All the Light We Cannot See' Is a Heartening and Hopeful Wartime Tale","publishDate":1699041905,"format":"standard","headTitle":"‘All the Light We Cannot See’ Is a Heartening and Hopeful Wartime Tale | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At a time when so much of what we see on television is devoted to ongoing coverage of war, you may not want to seek out a scripted drama about war — even long-ago World War II, and even a story based on Anthony Doerr’s very popular novel. But \u003ca href=\"https://www.npr.org/2014/05/10/310459898/a-fractured-tale-of-time-war-and-a-really-big-diamond\">\u003cem>All the Light We Cannot See, \u003c/em>\u003c/a>the new four-hour Netflix miniseries, is worthwhile and heartening. In the midst of the darkness and horror of war, the “Light” in the title refers to hope.\u003c/p>\n\u003cp>[aside postid='arts_13936820']\u003cem>All the Light We Cannot See \u003c/em>is told in several different time periods, and from several different perspectives — all leading to a climax in which everything somehow comes together. The main characters are two young children — a French girl named Marie-Laure and a German boy named Werner. He’s a tinkerer who becomes adept at building and repairing all types of radios. She’s blind, and is equally fascinated by the radio because she listens nightly to a shortwave broadcast, aimed at kids, hosted by a mysterious ham operator who calls himself the Professor.\u003c/p>\n\u003cp>In Paris, Marie-Laure is inspired by the Professor’s messages of hope — and back in Germany, so is Werner, who intercepts the same broadcasts from his orphanage before being forced into service by the Nazis.\u003c/p>\n\u003cp>Eventually, the roles of these central characters are taken up by older actors. Werner, as played by Louis Hofmann, is now a teenager trained and dispatched by the Nazis to seek out illegal radio operators. And Marie-Laure, now played by Aria Mia Loberti, flees the city of Paris on foot after the Nazi occupation, suitcases in hand. She’s led by her father Daniel, a museum director played by \u003ca href=\"https://www.npr.org/2007/12/27/17641820/fresh-air-reflects-actor-mark-ruffalo\">Mark Ruffalo\u003c/a>, who’s smuggling out some important museum valuables.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdE-JvKqpBQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their journey as refugees eventually takes them to the coastal town of Saint-Malo, where Marie-Laure’s uncle Etienne, played by \u003ca href=\"https://www.npr.org/2012/04/25/151405292/hugh-lauries-house-no-pain-no-gain\">Hugh Laurie\u003c/a>, is a member of the French resistance. In time, Werner, the young Nazi, is sent there to hunt down illegal radio operators. And Marie-Laure, discovering the secret location from which the Professor once made his defiantly hopeful broadcasts, decides to do the same.\u003c/p>\n\u003cp>[aside postid='arts_13933946']This puts both Marie-Laure and her father in harm’s way, hunted by other Nazis in addition to Werner, whose conflicted conscience is one of the strongest elements of \u003cem>All the Light We Cannot See. \u003c/em>Laurie’s character, an agoraphobic veteran of an earlier war, is touching too — but no one is as resonant, or as captivating, as Loberti as Marie-Laure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loberti, like the young woman she plays, is legally blind, and this is her first professional acting role — I didn’t become aware of that until after I saw all four hours of this Netflix drama. I’m still blown away by how assuredly, and effectively, this relative newcomer carries the weight of her leading role. Co-creators Shawn Levy and Steven Knight, who directed and wrote this miniseries, didn’t just fill a difficult and demanding part when they cast this impressive unknown. They also discovered a talented new actor.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27All+the+Light+We+Cannot+See%27+is+a+heartening+and+hopeful+wartime+tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Based on the Pulitzer Prize-winning novel, Netflix's miniseries tells the story of two youngsters surviving World War II.","status":"publish","parent":0,"modified":1705003135,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":563},"headData":{"title":"'All the Light We Cannot See' TV Review: A Hopeful Wartime Tale | KQED","description":"Based on the Pulitzer Prize-winning novel, Netflix's miniseries tells the story of two youngsters surviving World War II.","ogTitle":"'All the Light We Cannot See' Is a Heartening and Hopeful Wartime Tale","ogDescription":"","ogImgId":"","twTitle":"'All the Light We Cannot See' Is a Heartening and Hopeful Wartime Tale","twDescription":"","twImgId":"","socialTitle":"'All the Light We Cannot See' TV Review: A Hopeful Wartime Tale %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Atsushi Nishijima","nprByline":"David Bianculli","nprImageAgency":"Netflix","nprStoryId":"1210118700","nprApiLink":"http://api.npr.org/query?id=1210118700&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/11/02/1210118700/all-the-light-we-cannot-see-review-netflix?ft=nprml&f=1210118700","nprRetrievedStory":"1","nprPubDate":"Thu, 02 Nov 2023 17:20:00 -0400","nprStoryDate":"Thu, 02 Nov 2023 11:48:03 -0400","nprLastModifiedDate":"Thu, 02 Nov 2023 17:16:23 -0400","nprAudio":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2023/11/20231102_fa_02.mp3?orgId=427869011&topicId=1163&d=432&p=13&story=1210118700&ft=nprml&f=1210118700","nprAudioM3u":"http://api.npr.org/m3u/11210181136-bf13de.m3u?orgId=427869011&topicId=1163&d=432&p=13&story=1210118700&ft=nprml&f=1210118700","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/fa/2023/11/20231102_fa_02.mp3?orgId=427869011&topicId=1163&d=432&p=13&story=1210118700&ft=nprml&f=1210118700","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when so much of what we see on television is devoted to ongoing coverage of war, you may not want to seek out a scripted drama about war — even long-ago World War II, and even a story based on Anthony Doerr’s very popular novel. But \u003ca href=\"https://www.npr.org/2014/05/10/310459898/a-fractured-tale-of-time-war-and-a-really-big-diamond\">\u003cem>All the Light We Cannot See, \u003c/em>\u003c/a>the new four-hour Netflix miniseries, is worthwhile and heartening. In the midst of the darkness and horror of war, the “Light” in the title refers to hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936820","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>All the Light We Cannot See \u003c/em>is told in several different time periods, and from several different perspectives — all leading to a climax in which everything somehow comes together. The main characters are two young children — a French girl named Marie-Laure and a German boy named Werner. He’s a tinkerer who becomes adept at building and repairing all types of radios. She’s blind, and is equally fascinated by the radio because she listens nightly to a shortwave broadcast, aimed at kids, hosted by a mysterious ham operator who calls himself the Professor.\u003c/p>\n\u003cp>In Paris, Marie-Laure is inspired by the Professor’s messages of hope — and back in Germany, so is Werner, who intercepts the same broadcasts from his orphanage before being forced into service by the Nazis.\u003c/p>\n\u003cp>Eventually, the roles of these central characters are taken up by older actors. Werner, as played by Louis Hofmann, is now a teenager trained and dispatched by the Nazis to seek out illegal radio operators. And Marie-Laure, now played by Aria Mia Loberti, flees the city of Paris on foot after the Nazi occupation, suitcases in hand. She’s led by her father Daniel, a museum director played by \u003ca href=\"https://www.npr.org/2007/12/27/17641820/fresh-air-reflects-actor-mark-ruffalo\">Mark Ruffalo\u003c/a>, who’s smuggling out some important museum valuables.\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/QdE-JvKqpBQ'\n title='//www.youtube.com/embed/QdE-JvKqpBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their journey as refugees eventually takes them to the coastal town of Saint-Malo, where Marie-Laure’s uncle Etienne, played by \u003ca href=\"https://www.npr.org/2012/04/25/151405292/hugh-lauries-house-no-pain-no-gain\">Hugh Laurie\u003c/a>, is a member of the French resistance. In time, Werner, the young Nazi, is sent there to hunt down illegal radio operators. And Marie-Laure, discovering the secret location from which the Professor once made his defiantly hopeful broadcasts, decides to do the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933946","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This puts both Marie-Laure and her father in harm’s way, hunted by other Nazis in addition to Werner, whose conflicted conscience is one of the strongest elements of \u003cem>All the Light We Cannot See. \u003c/em>Laurie’s character, an agoraphobic veteran of an earlier war, is touching too — but no one is as resonant, or as captivating, as Loberti as Marie-Laure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loberti, like the young woman she plays, is legally blind, and this is her first professional acting role — I didn’t become aware of that until after I saw all four hours of this Netflix drama. I’m still blown away by how assuredly, and effectively, this relative newcomer carries the weight of her leading role. Co-creators Shawn Levy and Steven Knight, who directed and wrote this miniseries, didn’t just fill a difficult and demanding part when they cast this impressive unknown. They also discovered a talented new actor.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27All+the+Light+We+Cannot+See%27+is+a+heartening+and+hopeful+wartime+tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937572/all-the-light-we-cannot-see-is-a-heartening-and-hopeful-wartime-tale","authors":["byline_arts_13937572"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3324","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13937573","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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