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FM","link":"/"}},"arts_13953000":{"type":"posts","id":"arts_13953000","meta":{"index":"posts_1591205157","site":"arts","id":"13953000","score":null,"sort":[1708975752000]},"guestAuthors":[],"slug":"walking-dead-the-ones-who-live-amc-richonne-lincoln-gurira","title":"Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’","publishDate":1708975752,"format":"standard","headTitle":"Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cN6_lMcYFKY\u003c/p>\n\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>[aside postid='pop_97900']“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_104118']Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>[aside postid='pop_102007']“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>[aside postid='arts_13952691']“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\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=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Danai Gurira and Andrew Lincoln are back as Michonne and Rick Grimes. But will a new audience still show up?","status":"publish","parent":0,"modified":1708976776,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1721},"headData":{"title":"‘The Ones Who Live’ Is a ’Walking Dead’ Spin Off Worth Watching | KQED","description":"Danai Gurira and Andrew Lincoln are back as Michonne and Rick Grimes. But will a new audience still show up?","ogTitle":"Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’","ogDescription":"","ogImgId":"","twTitle":"Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’","twDescription":"","twImgId":"","socialTitle":"‘The Ones Who Live’ Is a ’Walking Dead’ Spin Off Worth Watching %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Returning Characters Revive ‘The Walking Dead’ in ‘The Ones Who Live’","datePublished":"2024-02-26T19:29:12.000Z","dateModified":"2024-02-26T19:46:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Eric Deggans","nprImageAgency":"AMC","nprStoryId":"1233827237","nprApiLink":"http://api.npr.org/query?id=1233827237&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/26/1233827237/the-walking-dead-the-ones-who-live-review?ft=nprml&f=1233827237","nprRetrievedStory":"1","nprPubDate":"Mon, 26 Feb 2024 12:00:00 -0500","nprStoryDate":"Mon, 26 Feb 2024 11:56:50 -0500","nprLastModifiedDate":"Mon, 26 Feb 2024 12:00:32 -0500","nprAudio":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/wesat/2024/02/20240224_wesat_review_-_the_ones_who_live.mp3?orgId=1&topicId=1163&d=228&story=1233827237&ft=nprml&f=1233827237","nprAudioM3u":"http://api.npr.org/m3u/11233925716-22c29d.m3u?orgId=1&topicId=1163&d=228&story=1233827237&ft=nprml&f=1233827237","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953000/walking-dead-the-ones-who-live-amc-richonne-lincoln-gurira","audioUrl":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/wesat/2024/02/20240224_wesat_review_-_the_ones_who_live.mp3?orgId=1&topicId=1163&d=228&story=1233827237&ft=nprml&f=1233827237","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\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/cN6_lMcYFKY'\n title='//www.youtube.com/embed/cN6_lMcYFKY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\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>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_97900","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_104118","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102007","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952691","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\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>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\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=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953000/walking-dead-the-ones-who-live-amc-richonne-lincoln-gurira","authors":["byline_arts_13953000"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_21977","arts_3797","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13953001","label":"arts_137"},"arts_13952691":{"type":"posts","id":"arts_13952691","meta":{"index":"posts_1591205157","site":"arts","id":"13952691","score":null,"sort":[1708547758000]},"guestAuthors":[],"slug":"in-constellation-disaster-follows-an-astronaut-back-to-earth","title":"In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth","publishDate":1708547758,"format":"standard","headTitle":"In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>[aside postid='arts_13940132']In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4dAaLbsQSzI\u003c/p>\n\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>[aside postid='arts_13952684']It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\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=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\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\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n","blocks":[],"excerpt":"The new Apple TV+ series is a haunting story that, at its center, is about the love between a mother and a daughter.","status":"publish","parent":0,"modified":1708545167,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":648},"headData":{"title":"New Apple TV+ Show ‘Constellation’ is Surprisingly Moving Sci-Fi | KQED","description":"The new Apple TV+ series is a haunting story that, at its center, is about the love between a mother and a daughter.","ogTitle":"In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth","ogDescription":"","ogImgId":"","twTitle":"In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth","twDescription":"","twImgId":"","socialTitle":"New Apple TV+ Show ‘Constellation’ is Surprisingly Moving Sci-Fi %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth","datePublished":"2024-02-21T20:35:58.000Z","dateModified":"2024-02-21T19:52:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"David Bianculli","nprImageAgency":"Apple TV+","nprStoryId":"1232664419","nprApiLink":"http://api.npr.org/query?id=1232664419&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/21/1232664419/constellation-review-noomi-rapace?ft=nprml&f=1232664419","nprRetrievedStory":"1","nprPubDate":"Wed, 21 Feb 2024 13:47:00 -0500","nprStoryDate":"Wed, 21 Feb 2024 13:40:32 -0500","nprLastModifiedDate":"Wed, 21 Feb 2024 13:43:45 -0500","nprAudio":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240221_fa_1127ff85-aa85-4914-8e12-62bc30aa19d3.mp3?orgId=427869011&topicId=1163&d=483&p=13&story=1232664419&ft=nprml&f=1232664419","nprAudioM3u":"http://api.npr.org/m3u/11232945087-b926a1.m3u?orgId=427869011&topicId=1163&d=483&p=13&story=1232664419&ft=nprml&f=1232664419","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13952691/in-constellation-disaster-follows-an-astronaut-back-to-earth","audioUrl":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2024/02/20240221_fa_1127ff85-aa85-4914-8e12-62bc30aa19d3.mp3?orgId=427869011&topicId=1163&d=483&p=13&story=1232664419&ft=nprml&f=1232664419","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940132","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\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>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\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/4dAaLbsQSzI'\n title='//www.youtube.com/embed/4dAaLbsQSzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952684","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\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=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\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\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952691/in-constellation-disaster-follows-an-astronaut-back-to-earth","authors":["byline_arts_13952691"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_9222","arts_769","arts_3797","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13952692","label":"arts_140"},"arts_13952684":{"type":"posts","id":"arts_13952684","meta":{"index":"posts_1591205157","site":"arts","id":"13952684","score":null,"sort":[1708541138000]},"guestAuthors":[],"slug":"dune-part-two-sustains-the-dystopian-dream-of-part-one","title":"‘Dune: Part Two’ Sustains the Dystopian Dream of ‘Part One’","publishDate":1708541138,"format":"standard","headTitle":"‘Dune: Part Two’ Sustains the Dystopian Dream of ‘Part One’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Three firm thumps into the Arrakis sand is all you need to summon a sandworm in Denis Villeneuve’s \u003cem>Dune: Part Two\u003c/em>. It’s almost as easy as hailing a cab or calling for the check.\u003c/p>\n\u003cp>The big buggers can’t resist the sound, which is a little like how I feel taking in all the vibrations of Villeneuve’s adaptation of Frank Herbert’s 1965 science-fiction novel. Whispers, incantations and guttural sounds buzz throughout \u003cem>Part Two\u003c/em>, a hissing hulk of a sequel that fluctuates between ominous silences and thunderous booms.\u003c/p>\n\u003cp>[aside postid='arts_13952488']The first \u003cem>Dune\u003c/em>, released in 2021 when movie theaters were still humbled by the pandemic, tackled just the first half of Herbert’s opus, saving the second half for the sequel. That split can be owed in part to the enormous amount of plot contained in the novel, but it can also be attributed to the operatic rhythms of Villeneuve’s solemn spectacle. Sober as they are, \u003cem>Dune\u003c/em> parts one and two are almost drunk on their own sense of atmosphere.\u003c/p>\n\u003cp>And with good reason. Like its predecessor, Dune: Part Two thrums with an intoxicating big-screen expressionism of monoliths and mosquitos, fevered visions and messianic fervor — more dystopian dream, or nightmare, than a straightforward narrative.\u003c/p>\n\u003cp>That filmmaking prowess sometimes comes at the expense of other things. Humor, for one, is in shorter supply on Arrakis than water. Javier Bardem, returning as the Fremen leader Stilgar, alone seems to want to breathe a little laughter into all the fiery red sands and mammoth machinery of \u003cem>Dune\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1kI6nXntYN8\u003c/p>\n\u003cp>\u003cem>Part Two\u003c/em> primarily follows the rise of Paul Atreides ( Timothée Chalamet ), who, after seeing his father killed and House Atreides routed from the Arrakis capital by House Harkonnen and Baron Vladimir Harkonnen (a monstrously good Stellan Skarsgård), is now living among the Fremen, the desert-dwelling peoples of Arrakis, with his mother Lady Jessica (Rebecca Ferguson).\u003c/p>\n\u003cp>[aside postid='arts_13951896']The myth of Paul is already growing among the Fremen, who call him Muad’Dib. (A great feature of these movies, like Hebert’s books, is the exquisite names.) Is he the chosen one or a false prophet? Doubts are gradually erased by his accomplishments (leading strikes against Harkonnen spice harvesters; quickly learning the ways of the Fremen); the cunning maneuvering of Lady Jessica; and the worshipful zeal of Stilgar.\u003c/p>\n\u003cp>The Fremen warrior Chani ( Zendaya ), though skeptical of the hype, believes, with some reluctance, in Paul. \u003cem>Part Two\u003c/em> is significantly propped up by their dynamic and budding romance, a relationship that gives a deserving wide-screen canvas to two of the most exciting young movie stars of their generation.\u003c/p>\n\u003cp>For a while it’s fun and games in the desert, blowing up stuff and learning how to ride sand worms. Oh, there’s the matter of the “holy poison” forced on Lady Jessica, a neon-blue liquid extracted from sand worms that looks like it would produce a fine Slush Puppie, but, if it doesn’t kill you, confers a frightful clairvoyance of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13952686\" class=\"wp-caption aligncenter\" style=\"max-width: 1946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png\" alt=\"A woman glares into the distance with thinly veiled anger. She is wearing dirty utilitarian clothes and is surrounded by men dressed similarly.\" width=\"1946\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png 1946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1020x670.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1536x1009.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1920x1261.png 1920w\" sizes=\"(max-width: 1946px) 100vw, 1946px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blue is an important color in the otherwise darker shaded \u003cem>Dune\u003c/em>. It lights up in Lady Jessica’s eyes and, later, Paul’s too. If you thought Peter O’Toole’s eyes blazed in \u003cem>Lawrence of Arabia\u003c/em>, Paul’s look like they’ve been pumped through with windshield-wiper fluid. As his following swells, Paul grows increasingly aware, and fearful, of his god-like power.\u003c/p>\n\u003cp>\u003cem>Dune: Part Two\u003c/em> spends much of its energy with Paul wrestling with this supposed messianic destiny. Like \u003cem>Lawrence of Arabia\u003c/em>, he’s a white protagonist from the West (or, here, the “Outer World”) on a Middle Eastern-like desert, leading the revolution of a dark-skinned population against oppressors whom he, himself, has deep ties to.\u003c/p>\n\u003cp>[aside postid='arts_13951772']Herbert’s metaphor-rife book has sometimes been interpreted — or misinterpreted, scholars would say — by the alt-right for its racial politics. Villeneuve’s film, scripted by the director and Jon Spaihts, appears highly conscious of this legacy as well as that of the white-savior trope. And often — as in so much of these two films — the movie expresses itself most through imagery and movement.\u003c/p>\n\u003cp>The Harkonnens, universally white, bald and violent, are served up as the symbol of colonist rule. In the middle of \u003cem>Part Two\u003c/em>, the film introduces the Harkonnen prince Feyd-Rautha (a hairless Austin Butler, looking a bit too much like the albino protagonist of 1995’s \u003cem>Powder\u003c/em>) who is a kind of opposite to Paul. He, too, could take command of Arrakis.\u003c/p>\n\u003cfigure id=\"attachment_13952687\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png\" alt=\"A pale young white man with a bald head and no eyebrows gazes at an attractive blonde woman wearing a blue hooded velvet dress. Their faces are close together.\" width=\"1954\" height=\"1174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1536x923.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1920x1154.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Lea Seydoux in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Villeneuve temporarily switches to Feyd-Rautha’s story and away from Paul and Chani, the film’s richly orchestrated sense of momentum falters. But the comparison is illuminating. In a massive colosseum, Feyd-Rautha ruthlessly battles a trio of Atreides survivors in a scene, bleached in monochrome, that looks like \u003ca href=\"https://www.imdb.com/title/tt0025913/\">Triumph of the Will\u003c/a>, supersized.\u003c/p>\n\u003cp>[aside postid='arts_13939927']There’s an earnest reckoning here in the power dynamics of the source material and previous Hollywood tales of first-and-third world confrontations. There’s plenty of doubt to go around for all involved, too. The movie’s perspective ultimately resides in the drained, shrouded face of Charlotte Rampling, who plays the matriarch of the Bene Gesserit (again, the names!), a mystic order that pulls the strings behind the galactic politics of \u003cem>Dune\u003c/em>. For her, it’s a game of raw calculation and “no sides.”\u003c/p>\n\u003cp>As \u003cem>Part Two\u003c/em> brings all parties together for the final act, it begins to lose steam. The Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh), seen sporadically from afar debating the events on Arrakis, turn up. But while Walken’s company is always welcome, he might be too warm a presence for \u003cem>Dune\u003c/em> — too much of the Earth despite so often seeming on a planet of his own.\u003c/p>\n\u003cp>Yet the limpness of the finale, despite all of the expert build-up of Hans Zimmer’s score and Mark Mangini and Theo Green’s sound design, goes to something deeper. Villeneuve’s great talent lies, I think, in invocation. He may be less perfect when it comes to conclusions but he’s brilliant at summoning — a sense of doom, a suddenly appeared spacecraft, a sandworm. Even better than those serpentine sand creatures (the runaway stars of \u003cem>Part Two\u003c/em>) is that thump, thump, thump that precedes them.\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>‘Dune: Part Two’ is released nationwide on March 1, but will play in Bay Area IMAX theaters from Feb. 25, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Sandworms, sword fights and a budding wide-screen romance featuring two of the most exciting movie stars of their generation.","status":"publish","parent":0,"modified":1708541138,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1171},"headData":{"title":"‘Dune: Part Two’ Review: Sandworms and Messiahs | KQED","description":"Sandworms, sword fights and a budding wide-screen romance featuring two of the most exciting movie stars of their generation.","ogTitle":"‘Dune: Part Two’ Sustains the Dystopian Dream of ‘Part One’","ogDescription":"","ogImgId":"","twTitle":"‘Dune: Part Two’ Sustains the Dystopian Dream of ‘Part One’","twDescription":"","twImgId":"","socialTitle":"‘Dune: Part Two’ Review: Sandworms and Messiahs %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Dune: Part Two’ Sustains the Dystopian Dream of ‘Part One’","datePublished":"2024-02-21T18:45:38.000Z","dateModified":"2024-02-21T18:45:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three firm thumps into the Arrakis sand is all you need to summon a sandworm in Denis Villeneuve’s \u003cem>Dune: Part Two\u003c/em>. It’s almost as easy as hailing a cab or calling for the check.\u003c/p>\n\u003cp>The big buggers can’t resist the sound, which is a little like how I feel taking in all the vibrations of Villeneuve’s adaptation of Frank Herbert’s 1965 science-fiction novel. Whispers, incantations and guttural sounds buzz throughout \u003cem>Part Two\u003c/em>, a hissing hulk of a sequel that fluctuates between ominous silences and thunderous booms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952488","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The first \u003cem>Dune\u003c/em>, released in 2021 when movie theaters were still humbled by the pandemic, tackled just the first half of Herbert’s opus, saving the second half for the sequel. That split can be owed in part to the enormous amount of plot contained in the novel, but it can also be attributed to the operatic rhythms of Villeneuve’s solemn spectacle. Sober as they are, \u003cem>Dune\u003c/em> parts one and two are almost drunk on their own sense of atmosphere.\u003c/p>\n\u003cp>And with good reason. Like its predecessor, Dune: Part Two thrums with an intoxicating big-screen expressionism of monoliths and mosquitos, fevered visions and messianic fervor — more dystopian dream, or nightmare, than a straightforward narrative.\u003c/p>\n\u003cp>That filmmaking prowess sometimes comes at the expense of other things. Humor, for one, is in shorter supply on Arrakis than water. Javier Bardem, returning as the Fremen leader Stilgar, alone seems to want to breathe a little laughter into all the fiery red sands and mammoth machinery of \u003cem>Dune\u003c/em>.\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/1kI6nXntYN8'\n title='//www.youtube.com/embed/1kI6nXntYN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Part Two\u003c/em> primarily follows the rise of Paul Atreides ( Timothée Chalamet ), who, after seeing his father killed and House Atreides routed from the Arrakis capital by House Harkonnen and Baron Vladimir Harkonnen (a monstrously good Stellan Skarsgård), is now living among the Fremen, the desert-dwelling peoples of Arrakis, with his mother Lady Jessica (Rebecca Ferguson).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951896","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The myth of Paul is already growing among the Fremen, who call him Muad’Dib. (A great feature of these movies, like Hebert’s books, is the exquisite names.) Is he the chosen one or a false prophet? Doubts are gradually erased by his accomplishments (leading strikes against Harkonnen spice harvesters; quickly learning the ways of the Fremen); the cunning maneuvering of Lady Jessica; and the worshipful zeal of Stilgar.\u003c/p>\n\u003cp>The Fremen warrior Chani ( Zendaya ), though skeptical of the hype, believes, with some reluctance, in Paul. \u003cem>Part Two\u003c/em> is significantly propped up by their dynamic and budding romance, a relationship that gives a deserving wide-screen canvas to two of the most exciting young movie stars of their generation.\u003c/p>\n\u003cp>For a while it’s fun and games in the desert, blowing up stuff and learning how to ride sand worms. Oh, there’s the matter of the “holy poison” forced on Lady Jessica, a neon-blue liquid extracted from sand worms that looks like it would produce a fine Slush Puppie, but, if it doesn’t kill you, confers a frightful clairvoyance of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13952686\" class=\"wp-caption aligncenter\" style=\"max-width: 1946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png\" alt=\"A woman glares into the distance with thinly veiled anger. She is wearing dirty utilitarian clothes and is surrounded by men dressed similarly.\" width=\"1946\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png 1946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1020x670.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1536x1009.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1920x1261.png 1920w\" sizes=\"(max-width: 1946px) 100vw, 1946px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blue is an important color in the otherwise darker shaded \u003cem>Dune\u003c/em>. It lights up in Lady Jessica’s eyes and, later, Paul’s too. If you thought Peter O’Toole’s eyes blazed in \u003cem>Lawrence of Arabia\u003c/em>, Paul’s look like they’ve been pumped through with windshield-wiper fluid. As his following swells, Paul grows increasingly aware, and fearful, of his god-like power.\u003c/p>\n\u003cp>\u003cem>Dune: Part Two\u003c/em> spends much of its energy with Paul wrestling with this supposed messianic destiny. Like \u003cem>Lawrence of Arabia\u003c/em>, he’s a white protagonist from the West (or, here, the “Outer World”) on a Middle Eastern-like desert, leading the revolution of a dark-skinned population against oppressors whom he, himself, has deep ties to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951772","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Herbert’s metaphor-rife book has sometimes been interpreted — or misinterpreted, scholars would say — by the alt-right for its racial politics. Villeneuve’s film, scripted by the director and Jon Spaihts, appears highly conscious of this legacy as well as that of the white-savior trope. And often — as in so much of these two films — the movie expresses itself most through imagery and movement.\u003c/p>\n\u003cp>The Harkonnens, universally white, bald and violent, are served up as the symbol of colonist rule. In the middle of \u003cem>Part Two\u003c/em>, the film introduces the Harkonnen prince Feyd-Rautha (a hairless Austin Butler, looking a bit too much like the albino protagonist of 1995’s \u003cem>Powder\u003c/em>) who is a kind of opposite to Paul. He, too, could take command of Arrakis.\u003c/p>\n\u003cfigure id=\"attachment_13952687\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png\" alt=\"A pale young white man with a bald head and no eyebrows gazes at an attractive blonde woman wearing a blue hooded velvet dress. Their faces are close together.\" width=\"1954\" height=\"1174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1536x923.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1920x1154.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Lea Seydoux in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Villeneuve temporarily switches to Feyd-Rautha’s story and away from Paul and Chani, the film’s richly orchestrated sense of momentum falters. But the comparison is illuminating. In a massive colosseum, Feyd-Rautha ruthlessly battles a trio of Atreides survivors in a scene, bleached in monochrome, that looks like \u003ca href=\"https://www.imdb.com/title/tt0025913/\">Triumph of the Will\u003c/a>, supersized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939927","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There’s an earnest reckoning here in the power dynamics of the source material and previous Hollywood tales of first-and-third world confrontations. There’s plenty of doubt to go around for all involved, too. The movie’s perspective ultimately resides in the drained, shrouded face of Charlotte Rampling, who plays the matriarch of the Bene Gesserit (again, the names!), a mystic order that pulls the strings behind the galactic politics of \u003cem>Dune\u003c/em>. For her, it’s a game of raw calculation and “no sides.”\u003c/p>\n\u003cp>As \u003cem>Part Two\u003c/em> brings all parties together for the final act, it begins to lose steam. The Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh), seen sporadically from afar debating the events on Arrakis, turn up. But while Walken’s company is always welcome, he might be too warm a presence for \u003cem>Dune\u003c/em> — too much of the Earth despite so often seeming on a planet of his own.\u003c/p>\n\u003cp>Yet the limpness of the finale, despite all of the expert build-up of Hans Zimmer’s score and Mark Mangini and Theo Green’s sound design, goes to something deeper. Villeneuve’s great talent lies, I think, in invocation. He may be less perfect when it comes to conclusions but he’s brilliant at summoning — a sense of doom, a suddenly appeared spacecraft, a sandworm. Even better than those serpentine sand creatures (the runaway stars of \u003cem>Part Two\u003c/em>) is that thump, thump, thump that precedes them.\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>‘Dune: Part Two’ is released nationwide on March 1, but will play in Bay Area IMAX theaters from Feb. 25, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one","authors":["byline_arts_13952684"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_74","arts_75"],"tags":["arts_769","arts_3797","arts_585","arts_21968"],"featImg":"arts_13952685","label":"arts_140"},"arts_13951772":{"type":"posts","id":"arts_13951772","meta":{"index":"posts_1591205157","site":"arts","id":"13951772","score":null,"sort":[1707400821000]},"guestAuthors":[],"slug":"ursula-k-le-guin-leo-diane-dillon-left-hand-of-darkness","title":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","publishDate":1707400821,"format":"standard","headTitle":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Mark Funke has a passion for science fiction history. So when he acquires a rare artifact, like the original cover art for \u003cem>The Left Hand of Darkness\u003c/em>, it’s akin to viewing a gleaming treasure, long sealed away.\u003c/p>\n\u003cp>“It’s wonderful,” says Funke, \u003ca href=\"https://funkebooks.com/\">a bookseller\u003c/a> based in Mill Valley. “This is the kind of material that we live for.”\u003c/p>\n\u003cp>His business is focused on selling documents and other archival materials; his main audience is university researchers and rare collectors. A painting is not his usual fare.\u003c/p>\n\u003cp>The cover’s literary significance is evident. Le Guin, who grew up in Berkeley, won the Hugo and Nebula awards for \u003cem>The Left Hand of Darkness\u003c/em>, a 1969 novel that places an interplanetary envoy on a frozen, androgynous world. Cultural misunderstandings — and feminist explorations of gender, relationships and societal roles — ensue.\u003c/p>\n\u003cfigure id=\"attachment_13951821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg\" alt=\"Person in suit with glasses smiles and sits in front of full bookshelves\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bookseller Mark Funke in his Mill Valley office. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I talk to other LGBTQIA+ science fiction writers and people who are immersed in science fiction, they always point to \u003cem>The Left Hand of Darkness\u003c/em> as a book that kind of showed them how expansive, how rich and how multilayered speculative fiction could be in its approach to gender and sexuality,” says \u003ca href=\"https://www.charliejaneanders.com/\">Charlie Jane Anders\u003c/a>, a San Francisco-based transgender science fiction writer, who wrote the afterword for the 50th anniversary edition of the novel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13950605']But the cover art for the 1969 first edition of the novel has its own merit. Leo and Diane Dillon, the only artists to win two consecutive Caldecott Medals for the picture books \u003cem>Why Mosquitoes Buzz in People’s Ears\u003c/em> and \u003cem>Ashanti to Zulu\u003c/em>, are known for illustrating dozens of science fiction covers for celebrated authors like Le Guin.\u003c/p>\n\u003cp>The Dillons’ original painting, which will be on display at the \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> in San Francisco, Feb. 9–11, has been relatively unseen until now. Its story picks up in the Oakland Hills, where Funke got a firsthand look into the inner lives of the writers, editors and artists trying to break new ground in sci-fi publishing.\u003c/p>\n\u003cfigure id=\"attachment_13951823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg\" alt=\"Open spread of photographs pasted into book with typed descriptions\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds holds a book filled with photos of science fiction authors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A sci-fi stash\u003c/h2>\n\u003cp>Last November, a tip led Funke to the former home of three well-known people in the world of science fiction. \u003ca href=\"https://en.wikipedia.org/wiki/Terry_Carr\">Terry Carr\u003c/a>, the editor who published Le Guin, Alexei Panshin, John Brunner and many others, had lived there with his wife Carol Carr, a science fiction author in her own right. After Terry’s death, the house further accumulated the belongings of Carol’s second husband Robert Lichtman, another science fiction writer and an avid fanzine collector. (Carol died in 2021, Lichtman in 2022.)\u003c/p>\n\u003cp>Funke worked with a trustee in the Carr-Lichtman estate to acquire all the papers of the house — which make up 127 boxes currently housed in Funke’s office. Some of these materials will also be on view at the Antiquarian Book Fair.\u003c/p>\n\u003cp>But acquiring the painting, which belonged to the Carr-Lichtman estate, took time, Funke says.\u003c/p>\n\u003cp>“It’s only months later, after communication with various auction houses and other parties, that we worked out a deal,” he says.\u003c/p>\n\u003cp>“If you separate the painting completely from the archives — I don’t want to say it loses value,” Funke adds, “but the idea that I have these memos which talk about the painting is amazing, and so they fit together.”\u003c/p>\n\u003cfigure id=\"attachment_13951822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg\" alt=\"Person in suit holds a framed painting of two people in an abstracted landscape\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds the original painting by Leo and Diane Dillon. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Commissioning an iconic cover\u003c/h2>\n\u003cp>In the late ’60s, Ace Books was working on the launch of a new series, the Ace Science Fiction Specials. This collection of 40 titles was meant to highlight a “new wave” of science fiction authors — including Le Guin — who wrote stories that dealt with not just rocket ships, but with class, gender and race.\u003c/p>\n\u003cp>[aside postID='arts_13951425']“It was science fiction that moved away from the pulpy space adventures, aliens and laser guns-type stories and conflict-based stories, specifically, of earlier in the century,” says Phoenix Alexander, the science fiction librarian at UC Riverside, which has one of the country’s largest \u003ca href=\"https://library.ucr.edu/collections/eaton-collection-of-science-fiction-fantasy\">collections\u003c/a> of the genre.\u003c/p>\n\u003cp>According to a 1967 memo to Aaron. A. Wyn, the founder of Ace Books, editor Terry Carr advocated for the Dillons for their “imagination and a readily recognizable style — plus a good knowledge of the science fiction field.” (The Dillons had previously done illustrations for the sci-fi magazine \u003cem>Galaxy\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13951825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg\" alt=\"Hands hold graphic cover against board with black and white version of cover graphics\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the mockup for Terry Carr’s ‘Best Science Fiction and Fantasy of the Year #16’ alongside a copy of the 1987 book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same memo, Carr also argued that science fiction readers would buy the books regardless, but the Dillons’ involvement in the “packaging” would entice a larger audience, “who seldom read science fiction because it looks too childish.”\u003c/p>\n\u003cp>The first edition of \u003cem>The Left Hand of Darkness\u003c/em>, a paperback featuring the Dillons’ cover art, was released in 1969, and Carr was so protective of the design, he refused to let it be reproduced on the book’s hardcover edition.\u003c/p>\n\u003cp>“I balked at letting them use the cover art by the Dillons because Dillon covers are now associated in the science field with the specials and I want it kept that way,” said Carr in a 1968 memo to Virginia Kidd, Le Guin’s agent.\u003c/p>\n\u003cp>The Dillons went on to design several more covers in the first series of the Ace Science Fiction Specials, and over the years, they continued that kind of work for authors like Ray Bradbury and Isaac Asimov.\u003c/p>\n\u003cfigure id=\"attachment_13951827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg\" alt=\"Two figures dressed in armor hold or protect children\" width=\"2000\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1920x1230.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting ‘Knights of Endurance,’ for the cover of Wade and Cheryl Hudson’s ‘In Praise of Our Fathers and Mothers.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Dillons’ ‘third artist’\u003c/h2>\n\u003cp>Diane Dillon says science fiction writers inspired some of their best work. Leo introduced her to the genre when they met as students at Parsons in the ’50s. They were drawn to sci-fi’s imaginative worlds and the promise of what could be possible.\u003c/p>\n\u003cp>“Science fiction, fantasy and myth gave us the freedom to invent and challenge our imagination,” Diane wrote via email.\u003c/p>\n\u003cp>[aside postID='arts_13950886']In a \u003ca href=\"https://www.locusmag.com/2000/Issues/04/Dillons.html\">2000 interview\u003c/a>, Leo said he and Diane wanted their illustrations to “take science fiction out of that spaceship-and-craters-on-the-planet look.” (Leo died in 2012.)\u003c/p>\n\u003cp>In the case of \u003cem>The Left Hand of Darkness\u003c/em>, the Dillons drew inspiration from Gustav Klimt. The original 24-by-19-inch acrylic painting evokes an uncanny world. Two figures with blurry features melt into a muted luster — an allusion to the icy planet of Gethen that provides the setting for the novel.\u003c/p>\n\u003cp>“That’s a sprawling piece, and it says volumes in just that one image,” says Paul Gulla, manager of R. Michelson Galleries, which represents the Dillons, in Northampton, Massachusetts.\u003c/p>\n\u003cfigure id=\"attachment_13951829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg\" alt=\"Figure presses against glass and reflection is another version of them, with another figure behind\" width=\"2000\" height=\"1697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-800x679.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1020x865.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1536x1303.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1920x1629.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting for the cover of Harlan Ellison’s ‘No Doors No Windows.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dillons’ work was recognizable, but the duo enjoyed experimentation. They used various techniques and materials — including stained glass, woodcarving and clay — throughout their decades-long career, which spanned book covers, album covers, kids’ picture books and advertisements.\u003c/p>\n\u003cp>The Dillons even forged a new artistic identity. They described their collaboration as a “third artist,” drawing on the combined powers of their own individual styles.\u003c/p>\n\u003cp>For Pat Cummings, a writer, illustrator and Parsons professor, the Dillons stand out not just for their talent but also for an “intuitiveness” for narrative.\u003c/p>\n\u003cp>The Dillons, she says, wanted “the reader or the viewer to feel the story, to feel what’s going on there, to smell the smells and feel the sensations.”\u003c/p>\n\u003cfigure id=\"attachment_13951828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg\" alt=\"Hand holds a paperback book in front of a framed painting with the larger image of the book cover: two blurry faces against an abstract field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the Dillons’ original artwork for ‘The Left Hand of Darkness’ alongside the first edition of Ursula K. Le Guin’s book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cover art is art’\u003c/h2>\n\u003cp>Jessica Jordan, a doctoral student in English at Stanford, says she’s always been drawn to the Dillons’ art. So much so that she embarked on a personal project to catalog a \u003ca href=\"https://www.abaa.org/images/blog_parts/11662/NCBCC_Jordan_Jessica_1.pdf\">bibliography\u003c/a> of their works. It’s no small feat given how prolific they were.\u003c/p>\n\u003cp>[aside postID='arts_13950449']“There’s a whole lot of work that they did that is not very well documented. They did covers for Shakespeare, \u003cem>Canterbury Tales\u003c/em>, all kinds of things, over many decades. And that’s not registered anywhere,” says Jordan, whose effort won her the 2021 National Collegiate Book Collecting Contest.\u003c/p>\n\u003cp>As a researcher in book history and a former bookseller, Jordan thinks a lot about book production. She appreciates the Dillons in part because they represent a different era in publishing — one in which commissioning fine artists to design book covers was more common.\u003c/p>\n\u003cp>“Cover art is art,” she says. “It used to be just part of how books got made.”\u003c/p>\n\u003cp>Jordan has her own copy of the 1969 paperback of \u003cem>The Left Hand of Darkness\u003c/em> and plans to attend the Antiquarian Book Fair to see the piece for herself.\u003c/p>\n\u003cp>“As much as I love the Dillons, I have only very occasionally gotten to see the originals of their work,” she says.\u003c/p>\n\u003cp>The fair likely won’t be the last chance to see the piece in person. Funke has sold the work to UC Riverside for $20,000 (among the highest amounts paid for a work by the Dillons). He also says the university has agreed to buy some of the related papers from the Carr-Lichtman estate, keeping the history of this fortuitous intersection intact.\u003c/p>\n\u003cp>“The image is not what you might specifically associate with science fiction,” says librarian Phoenix Alexander. “It might change people’s perspective of what science fiction is and who it’s for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>\u003ca href=\"https://www.abaa.org/cabookfair\">The Antiquarian Book Fair\u003c/a> takes place Feb. 9–11 at Pier 27, San Francisco.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independent of sponsorship opportunities.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Leo and Diane Dillon’s cover for Ursula K. Le Guin’s ‘Left Hand of Darkness’ is a merger of sci-fi greats. ","status":"publish","parent":0,"modified":1707423590,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":41,"wordCount":1775},"headData":{"title":"The Painting That Became an Ursula K. Le Guin Book Cover | KQED","description":"Leo and Diane Dillon’s cover for Ursula K. Le Guin’s ‘Left Hand of Darkness’ is a merger of sci-fi greats. ","ogTitle":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","ogDescription":"","ogImgId":"","twTitle":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","twDescription":"","twImgId":"","socialTitle":"The Painting That Became an Ursula K. Le Guin Book Cover %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Piece of Science Fiction Literary History Comes to the Antiquarian Book Fair","datePublished":"2024-02-08T14:00:21.000Z","dateModified":"2024-02-08T20:19:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/3218aadb-6c29-4f44-a5b3-b110011fb947/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951772/ursula-k-le-guin-leo-diane-dillon-left-hand-of-darkness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mark Funke has a passion for science fiction history. So when he acquires a rare artifact, like the original cover art for \u003cem>The Left Hand of Darkness\u003c/em>, it’s akin to viewing a gleaming treasure, long sealed away.\u003c/p>\n\u003cp>“It’s wonderful,” says Funke, \u003ca href=\"https://funkebooks.com/\">a bookseller\u003c/a> based in Mill Valley. “This is the kind of material that we live for.”\u003c/p>\n\u003cp>His business is focused on selling documents and other archival materials; his main audience is university researchers and rare collectors. A painting is not his usual fare.\u003c/p>\n\u003cp>The cover’s literary significance is evident. Le Guin, who grew up in Berkeley, won the Hugo and Nebula awards for \u003cem>The Left Hand of Darkness\u003c/em>, a 1969 novel that places an interplanetary envoy on a frozen, androgynous world. Cultural misunderstandings — and feminist explorations of gender, relationships and societal roles — ensue.\u003c/p>\n\u003cfigure id=\"attachment_13951821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg\" alt=\"Person in suit with glasses smiles and sits in front of full bookshelves\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-17-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bookseller Mark Funke in his Mill Valley office. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I talk to other LGBTQIA+ science fiction writers and people who are immersed in science fiction, they always point to \u003cem>The Left Hand of Darkness\u003c/em> as a book that kind of showed them how expansive, how rich and how multilayered speculative fiction could be in its approach to gender and sexuality,” says \u003ca href=\"https://www.charliejaneanders.com/\">Charlie Jane Anders\u003c/a>, a San Francisco-based transgender science fiction writer, who wrote the afterword for the 50th anniversary edition of the novel.\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>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950605","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But the cover art for the 1969 first edition of the novel has its own merit. Leo and Diane Dillon, the only artists to win two consecutive Caldecott Medals for the picture books \u003cem>Why Mosquitoes Buzz in People’s Ears\u003c/em> and \u003cem>Ashanti to Zulu\u003c/em>, are known for illustrating dozens of science fiction covers for celebrated authors like Le Guin.\u003c/p>\n\u003cp>The Dillons’ original painting, which will be on display at the \u003ca href=\"https://www.abaa.org/cabookfair\">Antiquarian Book Fair\u003c/a> in San Francisco, Feb. 9–11, has been relatively unseen until now. Its story picks up in the Oakland Hills, where Funke got a firsthand look into the inner lives of the writers, editors and artists trying to break new ground in sci-fi publishing.\u003c/p>\n\u003cfigure id=\"attachment_13951823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg\" alt=\"Open spread of photographs pasted into book with typed descriptions\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-08-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds holds a book filled with photos of science fiction authors. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A sci-fi stash\u003c/h2>\n\u003cp>Last November, a tip led Funke to the former home of three well-known people in the world of science fiction. \u003ca href=\"https://en.wikipedia.org/wiki/Terry_Carr\">Terry Carr\u003c/a>, the editor who published Le Guin, Alexei Panshin, John Brunner and many others, had lived there with his wife Carol Carr, a science fiction author in her own right. After Terry’s death, the house further accumulated the belongings of Carol’s second husband Robert Lichtman, another science fiction writer and an avid fanzine collector. (Carol died in 2021, Lichtman in 2022.)\u003c/p>\n\u003cp>Funke worked with a trustee in the Carr-Lichtman estate to acquire all the papers of the house — which make up 127 boxes currently housed in Funke’s office. Some of these materials will also be on view at the Antiquarian Book Fair.\u003c/p>\n\u003cp>But acquiring the painting, which belonged to the Carr-Lichtman estate, took time, Funke says.\u003c/p>\n\u003cp>“It’s only months later, after communication with various auction houses and other parties, that we worked out a deal,” he says.\u003c/p>\n\u003cp>“If you separate the painting completely from the archives — I don’t want to say it loses value,” Funke adds, “but the idea that I have these memos which talk about the painting is amazing, and so they fit together.”\u003c/p>\n\u003cfigure id=\"attachment_13951822\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg\" alt=\"Person in suit holds a framed painting of two people in an abstracted landscape\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LeGuin-09-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Funke holds the original painting by Leo and Diane Dillon. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Commissioning an iconic cover\u003c/h2>\n\u003cp>In the late ’60s, Ace Books was working on the launch of a new series, the Ace Science Fiction Specials. This collection of 40 titles was meant to highlight a “new wave” of science fiction authors — including Le Guin — who wrote stories that dealt with not just rocket ships, but with class, gender and race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951425","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It was science fiction that moved away from the pulpy space adventures, aliens and laser guns-type stories and conflict-based stories, specifically, of earlier in the century,” says Phoenix Alexander, the science fiction librarian at UC Riverside, which has one of the country’s largest \u003ca href=\"https://library.ucr.edu/collections/eaton-collection-of-science-fiction-fantasy\">collections\u003c/a> of the genre.\u003c/p>\n\u003cp>According to a 1967 memo to Aaron. A. Wyn, the founder of Ace Books, editor Terry Carr advocated for the Dillons for their “imagination and a readily recognizable style — plus a good knowledge of the science fiction field.” (The Dillons had previously done illustrations for the sci-fi magazine \u003cem>Galaxy\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13951825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg\" alt=\"Hands hold graphic cover against board with black and white version of cover graphics\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-03-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the mockup for Terry Carr’s ‘Best Science Fiction and Fantasy of the Year #16’ alongside a copy of the 1987 book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the same memo, Carr also argued that science fiction readers would buy the books regardless, but the Dillons’ involvement in the “packaging” would entice a larger audience, “who seldom read science fiction because it looks too childish.”\u003c/p>\n\u003cp>The first edition of \u003cem>The Left Hand of Darkness\u003c/em>, a paperback featuring the Dillons’ cover art, was released in 1969, and Carr was so protective of the design, he refused to let it be reproduced on the book’s hardcover edition.\u003c/p>\n\u003cp>“I balked at letting them use the cover art by the Dillons because Dillon covers are now associated in the science field with the specials and I want it kept that way,” said Carr in a 1968 memo to Virginia Kidd, Le Guin’s agent.\u003c/p>\n\u003cp>The Dillons went on to design several more covers in the first series of the Ace Science Fiction Specials, and over the years, they continued that kind of work for authors like Ray Bradbury and Isaac Asimov.\u003c/p>\n\u003cfigure id=\"attachment_13951827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg\" alt=\"Two figures dressed in armor hold or protect children\" width=\"2000\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1536x984.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Knights-of-Endurance-18_25x27_5-HIRES_2000-1920x1230.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting ‘Knights of Endurance,’ for the cover of Wade and Cheryl Hudson’s ‘In Praise of Our Fathers and Mothers.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Dillons’ ‘third artist’\u003c/h2>\n\u003cp>Diane Dillon says science fiction writers inspired some of their best work. Leo introduced her to the genre when they met as students at Parsons in the ’50s. They were drawn to sci-fi’s imaginative worlds and the promise of what could be possible.\u003c/p>\n\u003cp>“Science fiction, fantasy and myth gave us the freedom to invent and challenge our imagination,” Diane wrote via email.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950886","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://www.locusmag.com/2000/Issues/04/Dillons.html\">2000 interview\u003c/a>, Leo said he and Diane wanted their illustrations to “take science fiction out of that spaceship-and-craters-on-the-planet look.” (Leo died in 2012.)\u003c/p>\n\u003cp>In the case of \u003cem>The Left Hand of Darkness\u003c/em>, the Dillons drew inspiration from Gustav Klimt. The original 24-by-19-inch acrylic painting evokes an uncanny world. Two figures with blurry features melt into a muted luster — an allusion to the icy planet of Gethen that provides the setting for the novel.\u003c/p>\n\u003cp>“That’s a sprawling piece, and it says volumes in just that one image,” says Paul Gulla, manager of R. Michelson Galleries, which represents the Dillons, in Northampton, Massachusetts.\u003c/p>\n\u003cfigure id=\"attachment_13951829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg\" alt=\"Figure presses against glass and reflection is another version of them, with another figure behind\" width=\"2000\" height=\"1697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-800x679.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1020x865.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1536x1303.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/No-Doors-No-Windows-Final-11x13-HIRES_2000-1920x1629.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Leo and Diane Dillon’s painting for the cover of Harlan Ellison’s ‘No Doors No Windows.’ \u003ccite>(Courtesy R. Michelson Galleries)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Dillons’ work was recognizable, but the duo enjoyed experimentation. They used various techniques and materials — including stained glass, woodcarving and clay — throughout their decades-long career, which spanned book covers, album covers, kids’ picture books and advertisements.\u003c/p>\n\u003cp>The Dillons even forged a new artistic identity. They described their collaboration as a “third artist,” drawing on the combined powers of their own individual styles.\u003c/p>\n\u003cp>For Pat Cummings, a writer, illustrator and Parsons professor, the Dillons stand out not just for their talent but also for an “intuitiveness” for narrative.\u003c/p>\n\u003cp>The Dillons, she says, wanted “the reader or the viewer to feel the story, to feel what’s going on there, to smell the smells and feel the sensations.”\u003c/p>\n\u003cfigure id=\"attachment_13951828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg\" alt=\"Hand holds a paperback book in front of a framed painting with the larger image of the book cover: two blurry faces against an abstract field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240130-LEGUIN-12-BL-KQED-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Funke holds the Dillons’ original artwork for ‘The Left Hand of Darkness’ alongside the first edition of Ursula K. Le Guin’s book. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Cover art is art’\u003c/h2>\n\u003cp>Jessica Jordan, a doctoral student in English at Stanford, says she’s always been drawn to the Dillons’ art. So much so that she embarked on a personal project to catalog a \u003ca href=\"https://www.abaa.org/images/blog_parts/11662/NCBCC_Jordan_Jessica_1.pdf\">bibliography\u003c/a> of their works. It’s no small feat given how prolific they were.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950449","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“There’s a whole lot of work that they did that is not very well documented. They did covers for Shakespeare, \u003cem>Canterbury Tales\u003c/em>, all kinds of things, over many decades. And that’s not registered anywhere,” says Jordan, whose effort won her the 2021 National Collegiate Book Collecting Contest.\u003c/p>\n\u003cp>As a researcher in book history and a former bookseller, Jordan thinks a lot about book production. She appreciates the Dillons in part because they represent a different era in publishing — one in which commissioning fine artists to design book covers was more common.\u003c/p>\n\u003cp>“Cover art is art,” she says. “It used to be just part of how books got made.”\u003c/p>\n\u003cp>Jordan has her own copy of the 1969 paperback of \u003cem>The Left Hand of Darkness\u003c/em> and plans to attend the Antiquarian Book Fair to see the piece for herself.\u003c/p>\n\u003cp>“As much as I love the Dillons, I have only very occasionally gotten to see the originals of their work,” she says.\u003c/p>\n\u003cp>The fair likely won’t be the last chance to see the piece in person. Funke has sold the work to UC Riverside for $20,000 (among the highest amounts paid for a work by the Dillons). He also says the university has agreed to buy some of the related papers from the Carr-Lichtman estate, keeping the history of this fortuitous intersection intact.\u003c/p>\n\u003cp>“The image is not what you might specifically associate with science fiction,” says librarian Phoenix Alexander. “It might change people’s perspective of what science fiction is and who it’s for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003ci>\u003ca href=\"https://www.abaa.org/cabookfair\">The Antiquarian Book Fair\u003c/a> takes place Feb. 9–11 at Pier 27, San Francisco.\u003c/i>\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>\u003ci>A note to our readers: KQED is a sponsor of the Antiquarian Book Fair. Newsroom staff decide editorial coverage independent of sponsorship opportunities.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951772/ursula-k-le-guin-leo-diane-dillon-left-hand-of-darkness","authors":["11724"],"categories":["arts_1","arts_73","arts_70"],"tags":["arts_928","arts_10278","arts_3797","arts_901"],"featImg":"arts_13951820","label":"arts"},"arts_13950449":{"type":"posts","id":"arts_13950449","meta":{"index":"posts_1591205157","site":"arts","id":"13950449","score":null,"sort":[1705517522000]},"guestAuthors":[],"slug":"oakland-arts-lectures-sistah-scifi-chain-gang-all-stars","title":"‘Chain-Gang All-Stars’ Author Talks Abolition and Sci-Fi at Oakland Arts & Lectures","publishDate":1705517522,"format":"audio","headTitle":"‘Chain-Gang All-Stars’ Author Talks Abolition and Sci-Fi at Oakland Arts & Lectures | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In \u003ca href=\"https://www.nanakwameadjei-brenyah.com/\">Nana Kwame Adjei-Brenyah\u003c/a>’s debut novel, \u003ci>Chain-Gang All-Stars\u003c/i>, incarcerated people fight to the death for a chance at freedom in televised gladiator matches. These “hard action-sports” have become a wildly popular — and extremely profitable — form of entertainment in a not-so-distant, technologically advanced future.\u003c/p>\n\u003cp>The story is a searing indictment not only of the American prison system, but of the general public’s complicity in exploitation and injustice. And given that the Bay Area is a hub for abolitionist activism — and the place where many real-life dystopian \u003ca href=\"https://www.kqed.org/news/11969898/protesters-outside-google-in-san-francisco-call-for-immediate-end-to-project-nimbus\">technologies are developed\u003c/a> — \u003ci>Chain-Gang All-Stars\u003c/i> makes a fascinating subject for the Feb. 4 launch of a new speaker series called \u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13950484\" class=\"wp-caption alignright\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg\" alt=\"The cover of 'Chain-Gang All-Stars' features an abstract painting of a scythe with multicolored blood spraying from it.\" width=\"641\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover-160x250.jpg 160w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">‘Chain-Gang All-Stars’ by Nana Kwame Adjei-Brenyah. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the premise of \u003ci>Chain-Gang All-Stars\u003c/i> may sound bleak, the 2023 bestseller has a rich emotional core. At its center, two Black women in love reach for connection despite their dehumanizing circumstances. It’s those seeds of hope that remind the reader that though our political landscape might feel like a flaming dumpster careening towards an abyss, there’s still good in humanity, and the potential to fight for a better world.\u003c/p>\n\u003cp>“My work is to try to remind us that we are \u003ci>it\u003c/i>,” says Adjei-Brenyah from his book-filled New York office over Zoom. “Even if we’re not the rule makers, we’re the rule carry-out-ers. We’re not only the victims, we are also the hand that’s holding the hammer. It can be scary, but it’s also powerful as well.”\u003c/p>\n\u003cp>“We \u003ci>are\u003c/i> the power to change things,” the 33-year-old author adds.\u003c/p>\n\u003cp>At Oakland Arts & Lectures, Adjei-Brenyah will take the stage at Oakstop’s \u003ca href=\"https://oakstop.com/portfolio-item/gaines-gallery-suite/\">Gaines Gallery\u003c/a> in a conversation with Isis Asare, founder of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore and community centered on Black and Indigenous speculative fiction.\u003c/p>\n\u003cp>Sistah Scifi is helming the programming at Oakland Arts & Lectures. Inspired by City Arts & Lectures across the bridge in San Francisco, the City of Oakland-funded program’s aim is to connect the Town’s literary community to the national scene. That dovetails with Sistah Scifi’s mission of using speculative fiction to fuel activists’ imaginations. [aside postid='news_11941785']\u003c/p>\n\u003cp>“We can begin with talking about the book, but then also talk about larger societal themes and do that in community,” says Asare, who is also hosting upcoming in-person Sistah Scifi events in \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=769874975777\">San Francisco\u003c/a> and \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=782303138747\">Seattle\u003c/a>. “Once those conversations happen, it’s like, how can we move forward? How can we mobilize? How can we organize?”\u003c/p>\n\u003cp>Indeed, \u003ci>Chain-Gang All-Stars\u003c/i> lends itself to those nuanced conversations. Far from a straightforward allegory of good versus evil, the novel gets under readers’ skin and forces us to examine our own capacity for violence. Adjei-Brenyah writes engrossing battle scenes that glue readers to the page while also implicating them, making horrifically clear how despicable forms of entertainment can become normalized. And though we root for the main characters, they’re not without deep flaws and dark pasts. By allowing us to see their complicated humanity, the novel affirms people’s capacity for remorse, healing and positive change. [aside postid='arts_13940524']\u003c/p>\n\u003cp>Today’s social-justice movements and speculative fiction have a symbiotic relationship. \u003ci>Chain-Gang All-Stars\u003c/i> references activist-scholar \u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">Ruth Wilson Gilmore\u003c/a> as characters grapple with how society should address interpersonal violence. And abolitionists like \u003ca href=\"https://www.kqed.org/arts/13893734/a-roadmap-away-from-cancel-culture-and-towards-transformative-justice\">adrienne maree brown\u003c/a> regularly turn to Octavia Butler, whose canonical novels grapple with the legacy of slavery and imagine futures in which Black people are liberators and change agents.\u003c/p>\n\u003cp>“To me, activism is really like love taking action in the world,” Adjei-Brenyah says. Much like speculative fiction, “It requires you to see what’s in front of you and take an imaginative leap towards what could be instead.” [ad fullwidth]\u003c/p>\n\u003cp>By putting Black and Indigenous sci-fi authors at the center, Sistah Scifi is creating intentional space for dialogues that encourage building new worlds both on and off the page.\u003c/p>\n\u003cp>As Adjei-Brenyah puts it, “That perspective is exactly what we actually need to transform this world because of not only the way we’ve been oppressed, but also because of the way we thrive and how often that story is not told.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures with Nana Kwame Adjei-Brenyah and Sistah Scifi\u003c/a> takes place on Feb. 4 at Oakstop’s Gaines Gallery (1740 Telegraph Ave., Oakland). Free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Nana Kwame Adjei-Brenyah’s provocative bestseller kicks off the new event series Oakland Arts & Lectures. ","status":"publish","parent":0,"modified":1706642707,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":795},"headData":{"title":"‘Chain-Gang All-Stars’ Author Talks Abolition, Sci-Fi in Oakland | KQED","description":"Nana Kwame Adjei-Brenyah’s provocative bestseller kicks off the new event series Oakland Arts & Lectures. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"‘Chain-Gang All-Stars’ Author Talks Abolition, Sci-Fi in Oakland %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Chain-Gang All-Stars’ Author Talks Abolition and Sci-Fi at Oakland Arts & Lectures","datePublished":"2024-01-17T18:52:02.000Z","dateModified":"2024-01-30T19:25:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/30703e54-13b1-44de-95d6-b10001358a78/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13950449/oakland-arts-lectures-sistah-scifi-chain-gang-all-stars","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.nanakwameadjei-brenyah.com/\">Nana Kwame Adjei-Brenyah\u003c/a>’s debut novel, \u003ci>Chain-Gang All-Stars\u003c/i>, incarcerated people fight to the death for a chance at freedom in televised gladiator matches. These “hard action-sports” have become a wildly popular — and extremely profitable — form of entertainment in a not-so-distant, technologically advanced future.\u003c/p>\n\u003cp>The story is a searing indictment not only of the American prison system, but of the general public’s complicity in exploitation and injustice. And given that the Bay Area is a hub for abolitionist activism — and the place where many real-life dystopian \u003ca href=\"https://www.kqed.org/news/11969898/protesters-outside-google-in-san-francisco-call-for-immediate-end-to-project-nimbus\">technologies are developed\u003c/a> — \u003ci>Chain-Gang All-Stars\u003c/i> makes a fascinating subject for the Feb. 4 launch of a new speaker series called \u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13950484\" class=\"wp-caption alignright\" style=\"max-width: 641px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg\" alt=\"The cover of 'Chain-Gang All-Stars' features an abstract painting of a scythe with multicolored blood spraying from it.\" width=\"641\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover.jpg 641w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/chain-gang-all-stars-cover-160x250.jpg 160w\" sizes=\"(max-width: 641px) 100vw, 641px\">\u003cfigcaption class=\"wp-caption-text\">‘Chain-Gang All-Stars’ by Nana Kwame Adjei-Brenyah. \u003ccite>(Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the premise of \u003ci>Chain-Gang All-Stars\u003c/i> may sound bleak, the 2023 bestseller has a rich emotional core. At its center, two Black women in love reach for connection despite their dehumanizing circumstances. It’s those seeds of hope that remind the reader that though our political landscape might feel like a flaming dumpster careening towards an abyss, there’s still good in humanity, and the potential to fight for a better world.\u003c/p>\n\u003cp>“My work is to try to remind us that we are \u003ci>it\u003c/i>,” says Adjei-Brenyah from his book-filled New York office over Zoom. “Even if we’re not the rule makers, we’re the rule carry-out-ers. We’re not only the victims, we are also the hand that’s holding the hammer. It can be scary, but it’s also powerful as well.”\u003c/p>\n\u003cp>“We \u003ci>are\u003c/i> the power to change things,” the 33-year-old author adds.\u003c/p>\n\u003cp>At Oakland Arts & Lectures, Adjei-Brenyah will take the stage at Oakstop’s \u003ca href=\"https://oakstop.com/portfolio-item/gaines-gallery-suite/\">Gaines Gallery\u003c/a> in a conversation with Isis Asare, founder of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore and community centered on Black and Indigenous speculative fiction.\u003c/p>\n\u003cp>Sistah Scifi is helming the programming at Oakland Arts & Lectures. Inspired by City Arts & Lectures across the bridge in San Francisco, the City of Oakland-funded program’s aim is to connect the Town’s literary community to the national scene. That dovetails with Sistah Scifi’s mission of using speculative fiction to fuel activists’ imaginations. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11941785","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can begin with talking about the book, but then also talk about larger societal themes and do that in community,” says Asare, who is also hosting upcoming in-person Sistah Scifi events in \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=769874975777\">San Francisco\u003c/a> and \u003ca href=\"https://www.eventbrite.com/checkout-external?eid=782303138747\">Seattle\u003c/a>. “Once those conversations happen, it’s like, how can we move forward? How can we mobilize? How can we organize?”\u003c/p>\n\u003cp>Indeed, \u003ci>Chain-Gang All-Stars\u003c/i> lends itself to those nuanced conversations. Far from a straightforward allegory of good versus evil, the novel gets under readers’ skin and forces us to examine our own capacity for violence. Adjei-Brenyah writes engrossing battle scenes that glue readers to the page while also implicating them, making horrifically clear how despicable forms of entertainment can become normalized. And though we root for the main characters, they’re not without deep flaws and dark pasts. By allowing us to see their complicated humanity, the novel affirms people’s capacity for remorse, healing and positive change. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940524","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s social-justice movements and speculative fiction have a symbiotic relationship. \u003ci>Chain-Gang All-Stars\u003c/i> references activist-scholar \u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">Ruth Wilson Gilmore\u003c/a> as characters grapple with how society should address interpersonal violence. And abolitionists like \u003ca href=\"https://www.kqed.org/arts/13893734/a-roadmap-away-from-cancel-culture-and-towards-transformative-justice\">adrienne maree brown\u003c/a> regularly turn to Octavia Butler, whose canonical novels grapple with the legacy of slavery and imagine futures in which Black people are liberators and change agents.\u003c/p>\n\u003cp>“To me, activism is really like love taking action in the world,” Adjei-Brenyah says. Much like speculative fiction, “It requires you to see what’s in front of you and take an imaginative leap towards what could be instead.” \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>By putting Black and Indigenous sci-fi authors at the center, Sistah Scifi is creating intentional space for dialogues that encourage building new worlds both on and off the page.\u003c/p>\n\u003cp>As Adjei-Brenyah puts it, “That perspective is exactly what we actually need to transform this world because of not only the way we’ve been oppressed, but also because of the way we thrive and how often that story is not told.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/oakland-arts-and-lectures-nana-kwame-adjei-brenyah-tickets-769413044127\">Oakland Arts & Lectures with Nana Kwame Adjei-Brenyah and Sistah Scifi\u003c/a> takes place on Feb. 4 at Oakstop’s Gaines Gallery (1740 Telegraph Ave., Oakland). Free.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950449/oakland-arts-lectures-sistah-scifi-chain-gang-all-stars","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_928","arts_10278","arts_1143","arts_3797","arts_585"],"featImg":"arts_13950483","label":"arts_140"},"arts_13940132":{"type":"posts","id":"arts_13940132","meta":{"index":"posts_1591205157","site":"arts","id":"13940132","score":null,"sort":[1705075612000]},"guestAuthors":[],"slug":"iss-review-international-space-station-movie-chris-messina-thriller","title":"Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’","publishDate":1705075612,"format":"standard","headTitle":"Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13939153']If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i48f4AvS-Pk\u003c/p>\n\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>[aside postid='arts_13939927']If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"In this fun little thriller, the Cold War is back — and duking it out on the International Space Station.","status":"publish","parent":0,"modified":1705535456,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":816},"headData":{"title":"‘I.S.S.’ Movie Review: World War III Space Brawls and Flying Mice! | KQED","description":"In this fun little thriller, the Cold War is back — and duking it out on the International Space Station.","ogTitle":"Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’","ogDescription":"","ogImgId":"","twTitle":"Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’","twDescription":"","twImgId":"","socialTitle":"‘I.S.S.’ Movie Review: World War III Space Brawls and Flying Mice!%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’","datePublished":"2024-01-12T16:06:52.000Z","dateModified":"2024-01-17T23:50:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13940132/iss-review-international-space-station-movie-chris-messina-thriller","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939153","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\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/i48f4AvS-Pk'\n title='//www.youtube.com/embed/i48f4AvS-Pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\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>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939927","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13940132/iss-review-international-space-station-movie-chris-messina-thriller","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10278","arts_769","arts_3797","arts_585","arts_11718"],"featImg":"arts_13940291","label":"arts_140"},"arts_13939927":{"type":"posts","id":"arts_13939927","meta":{"index":"posts_1591205157","site":"arts","id":"13939927","score":null,"sort":[1704227183000]},"guestAuthors":[],"slug":"a-boy-and-his-dog-1975-dystopia-movie-summary-2024-don-johnson","title":"Start Your Year With ‘A Boy and His Dog’: A Bonkers 1975 Movie Set in 2024","publishDate":1704227183,"format":"standard","headTitle":"Start Your Year With ‘A Boy and His Dog’: A Bonkers 1975 Movie Set in 2024 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Happy new year, America! Now that the festive season is over, the ball has dropped and we’re swinging the door open on 2024, you might be wondering what the next 12 months has in store. Maybe you’re checking astrological charts for clues. Perhaps you’re studying political forecasts. If you’re less logical, you might even be looking back through movie archives to see what the silver screen has predicted about this year.\u003c/p>\n\u003cp>Which leads us to \u003cem>A Boy and His Dog\u003c/em>, a 1975 gem* of a film set in 2024. Never heard of it? Not to worry, for I am about to tell you all about it. And you might want to strap in, kids, because if this version of 2024 is even halfway correct, we’re all in big, big trouble.\u003c/p>\n\u003cp>(*Wait. Did I say gem? I meant piece of crap. My bad.)\u003c/p>\n\u003cp>\u003cem>A Boy and His Dog\u003c/em> stars a young Don “\u003cem>Miami Vice\u003c/em>” Johnson (Dakota’s dad!) and an actress named Susanne Benton who I thought for this entire movie was a young Jessica Walter. (Walter played Lucille Bluth in \u003cem>Arrested Development\u003c/em>. Pretend it’s her. It’s more fun.)\u003c/p>\n\u003cfigure id=\"attachment_13939931\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939931\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png\" alt=\"A young woman with shoulder-length hair gazes upwards.\" width=\"1648\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1020x578.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1536x871.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it!\u003c/figcaption>\u003c/figure>\n\u003cp>The story is set in the aftermath of World War IV, a conflict that helpful subtitles inform us “lasted 5 days” and “finally solved the problem of urban blight.” (Seems totally reasonable!) Johnson plays Vic, a feral 18-year-old whose days revolve around seeking out women to rape. (We don’t see any on-screen raping because that might make him too much of an unlikeable protagonist, right? Cool.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vic is fairly successful at All Of The Sexual Assault because his companion is — brace yourselves! — a psychic dog named Blood who can telepathically communicate with Vic. (I did tell you to brace yourselves…) Vic rewards Blood for this service with food, since Blood lost the ability to hunt when he acquired his special abilities. And we’re already in knots from trying to get this plot to make a modicum of sense.\u003c/p>\n\u003cp>[aside postid='arts_13907576']When Blood is psychically searching his vicinity for women/marauding enemies/food to steal, he lies down and an audible radar sounds. Like, actual beeping. Every single time this happens, you have to make an active effort to not think about which part of this dog is making this noise.\u003c/p>\n\u003cp>It’s a sidenote, but the very cute shaggy dog (\u003ca href=\"https://www.imdb.com/name/nm1948753/?ref_=ttfc_fc_cl_t16\">real name: Tiger\u003c/a>) playing the misanthropic Blood is woefully miscast, looking more like the lead in a Disney movie where family pets get into cuddly japes then rescue someone from a fire. I ask you: Does this dog look like a rape apologist to you? \u003cem>Does he?!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939932\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png\" alt=\"A shaggy white and grey dog sits on a chair.\" width=\"1024\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-768x491.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">I mean…\u003c/figcaption>\u003c/figure>\n\u003cp>When we first find Vic and Blood, Vic is demanding Blood find him a woman to attack and Blood (who sounds like the car from \u003cem>Knight Rider\u003c/em> is speaking inside a cave) is berating him with insults, correcting his grammar and laughing at Vic’s sexual frustration. “You’re not a nice person Albert,” Blood says. “You’re not a nice person at all.” (There is never an explanation about why Blood calls Vic “Albert” or why Vic hates it so much, which is not at all confusing.)\u003c/p>\n\u003cp>After Blood does an intense radar session, he declares: “I detect no living female person within my range, sir. I have sniffed and I have cast and I have a negative reading. However, I’d be delighted to tell you a suggestive story if you think that would help?” If Disney ever made a movie about a porn dog, Tiger would’ve nailed it.\u003c/p>\n\u003cp>Blood tries to make Vic a little more refined by teaching him about history. What we learn is that “World War III, hot and cold, lasted from June 1950 to March 1983.” When Blood makes Vic list former presidents, Vic says “Johnson, Nixon, Ford, Kennedy, Kennedy, Kennedy.” Man. It is startling how much no one saw Ronald Reagan coming.\u003c/p>\n\u003cp>[aside postid='arts_13890789']Out in the deserts of what apparently used to be Phoenix, Vic and Blood run into two types of people. The first I’m calling Bands of Burners (I know you can already picture what \u003cem>that\u003c/em> looks like). The second are referred to as “screamers” — some kind of monstrous humanoids we never see on camera. Vic says Blood saved him from the screamers once, describing them only as “oozing and eyelashes.” One gets the sense that \u003cem>A Boy and His Dog\u003c/em>’s budget ran out before anyone could get around to making these monsters.\u003c/p>\n\u003cp>To break up the monotony of their existence, one night Vic and Blood head to their local porn movie theater because every single human in this movie is obsessed with sex. At the outdoor ramshackle space, you can also get a haircut, popcorn, a shower, fire in a barrel and the use of some kind of gun coat-check manned by a boy in a box. Hopefully by the end of real-life 2024, these types of establishments will be everywhere.\u003c/p>\n\u003cp>Blood’s radar locates a woman at the dusty public porn hub. She’s disguised as a man but, under Blood’s direction, Vic manages to follow her into an underground pit where she stands completely naked, surrounded by cobwebs, casually brushing her hair into a bouffant. This is presumably how director L. Q. Jones thinks all women groom themselves in the privacy of their own pits. Vic tries to get all rapey with her but the girl starts a conversation instead, introducing herself as Quilla. Then a Band of Burners shows up and everyone has an incredibly confusing shootout. Blood gets injured by the Burners’ dog and starts limping about the place.\u003c/p>\n\u003cp>What even is this movie?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mTck2RnpPy4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>After the shootout, Vic, Quilla and Blood all find a secure place to hide. Vic and Quilla do some consensual lovin’, during which Blood bounces up and down on a mattress and mutters “Once more into the breach, dear friend.” After a bunch of enthusiastic humping has taken place, Blood announces “I’m not going to keep pretending I am asleep, Albert.” (We’ve all been there, Blood…)\u003c/p>\n\u003cp>In the morning, Blood calls Vic into a separate room and suggests they ditch Quilla. This is bizarre, given that keeping her around would actually save Blood from having to find women for Vic to rape all the live long day. Isn’t it better for \u003ci>literally everyone\u003c/i> if Vic has a girlfriend? This movie makes no sense.\u003c/p>\n\u003cp>Quilla tries to persuade Vic to go to “Downunder,” where she lives. Vic vehemently objects to this proposal, tells her she must stay with him, so she knocks him out and escapes. This is the first sensible thing that has happened.\u003c/p>\n\u003cp>[aside postid='arts_13939003']When Vic comes to, he decides to go in search of Quilla, abandoning Blood next to the metal door that leads to Downunder (Quilla said dogs aren’t particularly welcome there). And with that, Vic and Blood are suddenly rule followers!\u003c/p>\n\u003cp>Once in Downunder, Vic runs into a group of farmer-looking dudes who, for some reason, are all wearing — in addition to plaid red shirts and overalls — white face paint, cartoon rosy cheeks and lipstick. Naturally, they force Vic into a bubble bath and scrub him with a brush.\u003c/p>\n\u003cp>\u003cem>What. Is. Happening?\u003c/em>\u003c/p>\n\u003cp>After bath time, Vic witnesses marching bands, wholesome family gatherings and a frankly terrifying barbershop quartet. Everyone has the same goddamn makeup on.\u003c/p>\n\u003cfigure id=\"attachment_13939928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/scary-barbershop-quartet-e1704134946423.png\" alt=\"Four men in matching facepaint and grey and yellow suits sing together. They are all wearing glasses.\" width=\"1920\" height=\"1075\">\u003cfigcaption class=\"wp-caption-text\">Yes, they do want to eat your soul. Thanks for asking.\u003c/figcaption>\u003c/figure>\n\u003cp>Vic winds up in a strange courtroom where the granddad from the 1989 classic \u003cem>Parenthood\u003c/em> sentences everyone (including another psychic dog!) to death for minor infractions. We then find out that Quilla lured Vic to her underground community in exchange for a place on the court. Despite getting what he wanted, \u003cem>Parenthood\u003c/em> granddad denies Quilla her reward, scoffs at her ambition and arranges to have her married off, along with every other young woman in town. Because, okay!\u003c/p>\n\u003cp>[aside postid='pop_107664']We learn that \u003cem>Parenthood\u003c/em> granddad wanted Vic lured into his domain because Downunder men are sterile from living underground for too long. (Apparently, these exact same conditions haven’t had as much impact on female reproductive organs, which is all terribly convenient.) Vic is to be held against his will so that he might help repopulate the Earth. Unfortunately for him, that doesn’t involve more doin’ it. Rather, Vic is strapped down, gagged and attached to a mysterious sperm extraction machine and I must ask again: \u003cem>WHAT EVEN IS THIS MOVIE?\u003c/em>\u003c/p>\n\u003cp>Quilla shows up in a wedding dress and helps get Vic free. She is aided by a group of other rebellious teens who subsequently get their necks snapped by a farmer-looking robot dude, because \u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\">there is always a robot trying to kill people in 1970s sci-fi movies\u003c/a>. By the time Vic and Quilla escape to the desert upstairs, the still-waiting Blood is half-dead, weary from his injuries and starving. Vic, unwilling to lose his longtime psychic companion, concludes that the best way to solve this problem is to get Blood a good, hearty meal right then and there. So he kills Quilla (off camera of course!) and Blood eats her.\u003c/p>\n\u003cp>And that’s the end.\u003c/p>\n\u003cp>I’m not joking. That’s the whole movie. Someone actually made this. And it’s what some people in 1975 thought 2024 might look like.\u003c/p>\n\u003cp>Please try and take comfort in the fact that whatever really happens this year, it probably won’t be as stupid as \u003cem>A Boy and His Dog\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Good luck out there.\u003c/p>\n\n","blocks":[],"excerpt":"Whatever happens this year, just be grateful it doesn’t involve a predatory Don Johnson and a telepathic dog.","status":"publish","parent":0,"modified":1705002937,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1694},"headData":{"title":"Watch: ‘A Boy and His Dog,’ An Unhinged Dystopia Set in 2024 | KQED","description":"Whatever happens this year, just be grateful it doesn’t involve a predatory Don Johnson and a telepathic dog.","ogTitle":"Start Your Year With ‘A Boy and His Dog’: A Bonkers 1975 Movie Set in 2024","ogDescription":"","ogImgId":"","twTitle":"Start Your Year With ‘A Boy and His Dog’: A Bonkers 1975 Movie Set in 2024","twDescription":"","twImgId":"","socialTitle":"Watch: ‘A Boy and His Dog,’ An Unhinged Dystopia Set in 2024%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Start Your Year With ‘A Boy and His Dog’: A Bonkers 1975 Movie Set in 2024","datePublished":"2024-01-02T20:26:23.000Z","dateModified":"2024-01-11T19:55:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13939927/a-boy-and-his-dog-1975-dystopia-movie-summary-2024-don-johnson","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Happy new year, America! Now that the festive season is over, the ball has dropped and we’re swinging the door open on 2024, you might be wondering what the next 12 months has in store. Maybe you’re checking astrological charts for clues. Perhaps you’re studying political forecasts. If you’re less logical, you might even be looking back through movie archives to see what the silver screen has predicted about this year.\u003c/p>\n\u003cp>Which leads us to \u003cem>A Boy and His Dog\u003c/em>, a 1975 gem* of a film set in 2024. Never heard of it? Not to worry, for I am about to tell you all about it. And you might want to strap in, kids, because if this version of 2024 is even halfway correct, we’re all in big, big trouble.\u003c/p>\n\u003cp>(*Wait. Did I say gem? I meant piece of crap. My bad.)\u003c/p>\n\u003cp>\u003cem>A Boy and His Dog\u003c/em> stars a young Don “\u003cem>Miami Vice\u003c/em>” Johnson (Dakota’s dad!) and an actress named Susanne Benton who I thought for this entire movie was a young Jessica Walter. (Walter played Lucille Bluth in \u003cem>Arrested Development\u003c/em>. Pretend it’s her. It’s more fun.)\u003c/p>\n\u003cfigure id=\"attachment_13939931\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939931\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png\" alt=\"A young woman with shoulder-length hair gazes upwards.\" width=\"1648\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1020x578.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1536x871.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it!\u003c/figcaption>\u003c/figure>\n\u003cp>The story is set in the aftermath of World War IV, a conflict that helpful subtitles inform us “lasted 5 days” and “finally solved the problem of urban blight.” (Seems totally reasonable!) Johnson plays Vic, a feral 18-year-old whose days revolve around seeking out women to rape. (We don’t see any on-screen raping because that might make him too much of an unlikeable protagonist, right? Cool.)\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>Vic is fairly successful at All Of The Sexual Assault because his companion is — brace yourselves! — a psychic dog named Blood who can telepathically communicate with Vic. (I did tell you to brace yourselves…) Vic rewards Blood for this service with food, since Blood lost the ability to hunt when he acquired his special abilities. And we’re already in knots from trying to get this plot to make a modicum of sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907576","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When Blood is psychically searching his vicinity for women/marauding enemies/food to steal, he lies down and an audible radar sounds. Like, actual beeping. Every single time this happens, you have to make an active effort to not think about which part of this dog is making this noise.\u003c/p>\n\u003cp>It’s a sidenote, but the very cute shaggy dog (\u003ca href=\"https://www.imdb.com/name/nm1948753/?ref_=ttfc_fc_cl_t16\">real name: Tiger\u003c/a>) playing the misanthropic Blood is woefully miscast, looking more like the lead in a Disney movie where family pets get into cuddly japes then rescue someone from a fire. I ask you: Does this dog look like a rape apologist to you? \u003cem>Does he?!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939932\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png\" alt=\"A shaggy white and grey dog sits on a chair.\" width=\"1024\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-768x491.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">I mean…\u003c/figcaption>\u003c/figure>\n\u003cp>When we first find Vic and Blood, Vic is demanding Blood find him a woman to attack and Blood (who sounds like the car from \u003cem>Knight Rider\u003c/em> is speaking inside a cave) is berating him with insults, correcting his grammar and laughing at Vic’s sexual frustration. “You’re not a nice person Albert,” Blood says. “You’re not a nice person at all.” (There is never an explanation about why Blood calls Vic “Albert” or why Vic hates it so much, which is not at all confusing.)\u003c/p>\n\u003cp>After Blood does an intense radar session, he declares: “I detect no living female person within my range, sir. I have sniffed and I have cast and I have a negative reading. However, I’d be delighted to tell you a suggestive story if you think that would help?” If Disney ever made a movie about a porn dog, Tiger would’ve nailed it.\u003c/p>\n\u003cp>Blood tries to make Vic a little more refined by teaching him about history. What we learn is that “World War III, hot and cold, lasted from June 1950 to March 1983.” When Blood makes Vic list former presidents, Vic says “Johnson, Nixon, Ford, Kennedy, Kennedy, Kennedy.” Man. It is startling how much no one saw Ronald Reagan coming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13890789","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Out in the deserts of what apparently used to be Phoenix, Vic and Blood run into two types of people. The first I’m calling Bands of Burners (I know you can already picture what \u003cem>that\u003c/em> looks like). The second are referred to as “screamers” — some kind of monstrous humanoids we never see on camera. Vic says Blood saved him from the screamers once, describing them only as “oozing and eyelashes.” One gets the sense that \u003cem>A Boy and His Dog\u003c/em>’s budget ran out before anyone could get around to making these monsters.\u003c/p>\n\u003cp>To break up the monotony of their existence, one night Vic and Blood head to their local porn movie theater because every single human in this movie is obsessed with sex. At the outdoor ramshackle space, you can also get a haircut, popcorn, a shower, fire in a barrel and the use of some kind of gun coat-check manned by a boy in a box. Hopefully by the end of real-life 2024, these types of establishments will be everywhere.\u003c/p>\n\u003cp>Blood’s radar locates a woman at the dusty public porn hub. She’s disguised as a man but, under Blood’s direction, Vic manages to follow her into an underground pit where she stands completely naked, surrounded by cobwebs, casually brushing her hair into a bouffant. This is presumably how director L. Q. Jones thinks all women groom themselves in the privacy of their own pits. Vic tries to get all rapey with her but the girl starts a conversation instead, introducing herself as Quilla. Then a Band of Burners shows up and everyone has an incredibly confusing shootout. Blood gets injured by the Burners’ dog and starts limping about the place.\u003c/p>\n\u003cp>What even is this movie?\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/mTck2RnpPy4'\n title='//www.youtube.com/embed/mTck2RnpPy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>After the shootout, Vic, Quilla and Blood all find a secure place to hide. Vic and Quilla do some consensual lovin’, during which Blood bounces up and down on a mattress and mutters “Once more into the breach, dear friend.” After a bunch of enthusiastic humping has taken place, Blood announces “I’m not going to keep pretending I am asleep, Albert.” (We’ve all been there, Blood…)\u003c/p>\n\u003cp>In the morning, Blood calls Vic into a separate room and suggests they ditch Quilla. This is bizarre, given that keeping her around would actually save Blood from having to find women for Vic to rape all the live long day. Isn’t it better for \u003ci>literally everyone\u003c/i> if Vic has a girlfriend? This movie makes no sense.\u003c/p>\n\u003cp>Quilla tries to persuade Vic to go to “Downunder,” where she lives. Vic vehemently objects to this proposal, tells her she must stay with him, so she knocks him out and escapes. This is the first sensible thing that has happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939003","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When Vic comes to, he decides to go in search of Quilla, abandoning Blood next to the metal door that leads to Downunder (Quilla said dogs aren’t particularly welcome there). And with that, Vic and Blood are suddenly rule followers!\u003c/p>\n\u003cp>Once in Downunder, Vic runs into a group of farmer-looking dudes who, for some reason, are all wearing — in addition to plaid red shirts and overalls — white face paint, cartoon rosy cheeks and lipstick. Naturally, they force Vic into a bubble bath and scrub him with a brush.\u003c/p>\n\u003cp>\u003cem>What. Is. Happening?\u003c/em>\u003c/p>\n\u003cp>After bath time, Vic witnesses marching bands, wholesome family gatherings and a frankly terrifying barbershop quartet. Everyone has the same goddamn makeup on.\u003c/p>\n\u003cfigure id=\"attachment_13939928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/scary-barbershop-quartet-e1704134946423.png\" alt=\"Four men in matching facepaint and grey and yellow suits sing together. They are all wearing glasses.\" width=\"1920\" height=\"1075\">\u003cfigcaption class=\"wp-caption-text\">Yes, they do want to eat your soul. Thanks for asking.\u003c/figcaption>\u003c/figure>\n\u003cp>Vic winds up in a strange courtroom where the granddad from the 1989 classic \u003cem>Parenthood\u003c/em> sentences everyone (including another psychic dog!) to death for minor infractions. We then find out that Quilla lured Vic to her underground community in exchange for a place on the court. Despite getting what he wanted, \u003cem>Parenthood\u003c/em> granddad denies Quilla her reward, scoffs at her ambition and arranges to have her married off, along with every other young woman in town. Because, okay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_107664","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We learn that \u003cem>Parenthood\u003c/em> granddad wanted Vic lured into his domain because Downunder men are sterile from living underground for too long. (Apparently, these exact same conditions haven’t had as much impact on female reproductive organs, which is all terribly convenient.) Vic is to be held against his will so that he might help repopulate the Earth. Unfortunately for him, that doesn’t involve more doin’ it. Rather, Vic is strapped down, gagged and attached to a mysterious sperm extraction machine and I must ask again: \u003cem>WHAT EVEN IS THIS MOVIE?\u003c/em>\u003c/p>\n\u003cp>Quilla shows up in a wedding dress and helps get Vic free. She is aided by a group of other rebellious teens who subsequently get their necks snapped by a farmer-looking robot dude, because \u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\">there is always a robot trying to kill people in 1970s sci-fi movies\u003c/a>. By the time Vic and Quilla escape to the desert upstairs, the still-waiting Blood is half-dead, weary from his injuries and starving. Vic, unwilling to lose his longtime psychic companion, concludes that the best way to solve this problem is to get Blood a good, hearty meal right then and there. So he kills Quilla (off camera of course!) and Blood eats her.\u003c/p>\n\u003cp>And that’s the end.\u003c/p>\n\u003cp>I’m not joking. That’s the whole movie. Someone actually made this. And it’s what some people in 1975 thought 2024 might look like.\u003c/p>\n\u003cp>Please try and take comfort in the fact that whatever really happens this year, it probably won’t be as stupid as \u003cem>A Boy and His Dog\u003c/em>.\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>Good luck out there.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939927/a-boy-and-his-dog-1975-dystopia-movie-summary-2024-don-johnson","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_8530","arts_21817","arts_10278","arts_3797","arts_585"],"featImg":"arts_13939929","label":"arts_140"},"arts_13939003":{"type":"posts","id":"arts_13939003","meta":{"index":"posts_1591205157","site":"arts","id":"13939003","score":null,"sort":[1701891315000]},"guestAuthors":[],"slug":"star-wars-holiday-special-disturbance-in-the-force-review-documentary","title":"A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why?","publishDate":1701891315,"format":"standard","headTitle":"A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why? | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There might be even more lore about the \u003ca href=\"https://www.kqed.org/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no\">\u003cem>Star Wars Holiday Special\u003c/em>\u003c/a> than about the \u003ca href=\"https://www.kqed.org/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe\">\u003cem>Star Wars\u003c/em> universe\u003c/a> itself. Aired once in November 1978 on CBS and then locked away beyond the reach of legitimate viewing, it sends Chewbacca back to his home planet to visit his family: his wife, Malla; his father, Itchy; and his son, Lumpy. (Yes. Lumpy.)\u003c/p>\n\u003cp>The special had guest stars like Bea Arthur and Harvey Korman and original cast members from the movie, including Mark Hamill, Carrie Fisher and Harrison Ford. It was a true variety show, complete with singing and dancing. And skits!\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BtkpVWeWN-Q\u003c/p>\n\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>[aside postid='arts_13920462']Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\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=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘A Disturbance in the Force’ reviews how one of the strangest (and worst) variety shows in history got made.","status":"publish","parent":0,"modified":1705003012,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":515},"headData":{"title":"A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why? | KQED","description":"‘A Disturbance in the Force’ reviews how one of the strangest (and worst) variety shows in history got made.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why?","datePublished":"2023-12-06T19:35:15.000Z","dateModified":"2024-01-11T19:56:52.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Linda Holmes","nprStoryId":"1217487098","nprApiLink":"http://api.npr.org/query?id=1217487098&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/06/1217487098/a-new-documentary-examines-the-star-wars-holiday-special-and-asks-why?ft=nprml&f=1217487098","nprRetrievedStory":"1","nprPubDate":"Wed, 06 Dec 2023 05:00:00 -0500","nprStoryDate":"Wed, 06 Dec 2023 05:00:44 -0500","nprLastModifiedDate":"Wed, 06 Dec 2023 05:00:44 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939003/star-wars-holiday-special-disturbance-in-the-force-review-documentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There might be even more lore about the \u003ca href=\"https://www.kqed.org/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no\">\u003cem>Star Wars Holiday Special\u003c/em>\u003c/a> than about the \u003ca href=\"https://www.kqed.org/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe\">\u003cem>Star Wars\u003c/em> universe\u003c/a> itself. Aired once in November 1978 on CBS and then locked away beyond the reach of legitimate viewing, it sends Chewbacca back to his home planet to visit his family: his wife, Malla; his father, Itchy; and his son, Lumpy. (Yes. Lumpy.)\u003c/p>\n\u003cp>The special had guest stars like Bea Arthur and Harvey Korman and original cast members from the movie, including Mark Hamill, Carrie Fisher and Harrison Ford. It was a true variety show, complete with singing and dancing. And skits!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889379","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\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>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\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/BtkpVWeWN-Q'\n title='//www.youtube.com/embed/BtkpVWeWN-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920462","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\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=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939003/star-wars-holiday-special-disturbance-in-the-force-review-documentary","authors":["byline_arts_13939003"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_13672","arts_3797","arts_3241","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13939006","label":"arts_140"},"arts_13935508":{"type":"posts","id":"arts_13935508","meta":{"index":"posts_1591205157","site":"arts","id":"13935508","score":null,"sort":[1695929562000]},"guestAuthors":[],"slug":"the-creator-film-review-ai-sci-fi-dystopia","title":"Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony","publishDate":1695929562,"format":"standard","headTitle":"Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>[aside postid='arts_13935443']As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ex3C1-5Dhb8\u003c/p>\n\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>[aside postid='arts_13935225']In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\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=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"This sci-fi drama about an ex-special-forces operative who teams up with a humanoid robot excels at world-building.","status":"publish","parent":0,"modified":1705003309,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":792},"headData":{"title":"Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony | KQED","description":"This sci-fi drama about an ex-special-forces operative who teams up with a humanoid robot excels at world-building.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Did AI Write This Film? ‘The Creator’ Offers a Muddled Plea for Human-Robot Harmony","datePublished":"2023-09-28T19:32:42.000Z","dateModified":"2024-01-11T20:01:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Justin Chang","nprImageAgency":"20th Century Studios","nprStoryId":"1202299557","nprApiLink":"http://api.npr.org/query?id=1202299557&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/09/28/1202299557/the-creator-film-review-ai?ft=nprml&f=1202299557","nprRetrievedStory":"1","nprPubDate":"Thu, 28 Sep 2023 11:39:00 -0400","nprStoryDate":"Thu, 28 Sep 2023 11:39:41 -0400","nprLastModifiedDate":"Thu, 28 Sep 2023 11:39:41 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13935508/the-creator-film-review-ai-sci-fi-dystopia","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.npr.org/2023/08/02/1190605685/movie-extras-worry-theyll-be-replaced-by-ai-hollywood-is-already-doing-body-scan\">use of AI\u003c/a> in Hollywood has been one of the most contentious issues in the writers and actors \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\">strikes\u003c/a>, and the industry’s anxiety about the subject isn’t going away anytime soon. Some of that anxiety has already started to register on-screen. A mysterious robotic entity was the big villain in the \u003ca href=\"https://www.npr.org/2023/07/14/1186778012/mission-impossible-7-review-dead-reckoning-part-one-tom-cruise\">most recent \u003c/a>\u003cem>Mission: Impossible\u003c/em> film, and AI is also central to the ambitious but muddled new science-fiction drama \u003cem>The Creator\u003c/em>.\u003c/p>\n\u003cp>Set decades into the future, the movie begins with a prologue charting the rise of artificial intelligence. Here it’s represented as a race of humanoid robots that in time become powerful enough to detonate a nuclear weapon and wipe out the entire city of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935443","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As a longtime LA resident who’s seen his city destroyed in countless films before this one, I couldn’t help but watch this latest cataclysm with a chuckle and a shrug. It’s just part of the setup in a story that patches together numerous ideas from earlier, better movies. After the destruction of LA, we learn, the U.S. declared war on AI and hunted the robots to near-extinction; the few that still remain are hiding out in what is now known as New Asia.\u003c/p>\n\u003cp>The director Gareth Edwards, who wrote the script with Chris Weitz, has cited \u003cem>Blade Runner\u003c/em> and \u003cem>Apocalypse Now\u003c/em> as major influences. And indeed, there’s something queasy and heavy-handed about the way Edwards evokes the Vietnam War with images of American soldiers terrorizing the poor Asian villagers whom they suspect of sheltering robots.\u003c/p>\n\u003cp>The protagonist is a world-weary ex-special-forces operative named Joshua Taylor, played by \u003ca href=\"https://www.npr.org/2018/08/11/637811979/i-wasn-t-sure-if-it-was-true-john-david-washington-on-the-blackkklansman-story\">John David Washington\u003c/a>. He’s reluctantly joined the mission to help destroy an AI superweapon said to be capable of wiping out humanity for good. Amid the battle that ensues, Joshua manages to track down the weapon, which — in a twist that echoes earlier sci-fi classics like \u003cem>Akira \u003c/em>and \u003cem>A.I. —\u003c/em> turns out to be a pensive young robot child, played by the excellent newcomer Madeleine Yuna Voyles.\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>Joshua’s superior, played by \u003ca href=\"https://www.npr.org/2014/08/04/337371399/allison-janney-on-sex-sorkin-and-being-the-tallest-woman-in-the-room\">Allison Janney\u003c/a>, tells him to kill the robot child, but he doesn’t. Instead, he goes rogue and on the run with the child, whom he calls Alpha, or Alphie. Washington doesn’t have much range or screen presence, but he and Voyles do generate enough chemistry to make you forget you’re watching yet another man tag-teaming with a young girl — a trope familiar from movies as different as \u003cem>Paper Moon \u003c/em>and \u003cem>Léon: The Professional\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/ex3C1-5Dhb8'\n title='//www.youtube.com/embed/ex3C1-5Dhb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Joshua’s betrayal is partly motivated by his grief over his long-lost love, a human woman named Maya who allied herself with the robots; she’s played by an underused Gemma Chan. One of the more bothersome aspects of \u003cem>The Creator\u003c/em> is the way it reflexively equates Asians with advanced technology; it’s the latest troubling example of “techno-orientalism,” a cultural concept that has spurred a million \u003cem>Blade Runner \u003c/em>term papers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In recycling so many spare parts, Edwards, best known for directing the \u003cem>Star Wars\u003c/em> prequel \u003ca href=\"https://www.npr.org/2016/12/15/504850324/rogue-one-is-a-star-wars-story-with-fewer-stars-and-a-lot-more-wars\">\u003cem>Rogue One\u003c/em>\u003c/a>, is clearly trying to tap into our memories of great Hollywood spectacles past. To his credit, he wants to give us the kind of philosophically weighty, visually immersive science-fiction blockbuster that the studios rarely attempt anymore. The most impressive aspect of \u003cem>The Creator\u003c/em> is its world building; much of the movie was shot on location in different Asian countries, and its mix of real places and futuristic design elements feels more plausible and grounded than it would have if it had been rendered exclusively in CGI.\u003c/p>\n\u003cp>But even the most strikingly beautiful images — like the one of high-tech laser beams shimmering over a beach at sunset — are tethered to a story and characters that never take on a life of their own. Not even the great\u003ca href=\"https://www.npr.org/2022/04/10/1091927653/ken-watanabe-stars-in-the-new-crime-show-tokyo-vice\"> Ken Watanabe\u003c/a> can breathe much life into his role as a stern robo-warrior who does his part to help Joshua and Alphie on their journey.\u003c/p>\n\u003cfigure id=\"attachment_13935510\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe\" alt=\"A Black man stands before a bridge at sundown. He is wearing a heavy wool coat.\" width=\"1300\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317.jpe 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/g_thecreator_2004-6_7296229f_custom-9c814ccfddb010861a8c1c1d7572760576e10317-768x431.jpe 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">John David Washington plays Joshua Taylor, a world-weary ex-special-forces operative.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>In the end, Edwards mounts a sincere but soggy plea for human-robot harmony, arguing that AI isn’t quite the malicious threat it might seem. That’s a sweet enough sentiment, though it’s also one of many reasons I left \u003cem>The Creator\u003c/em> asking myself: Did an AI write this?\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=Did+AI+write+this+film%3F+%27The+Creator%27+offers+a+muddled+plea+for+human-robot+harmony+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935508/the-creator-film-review-ai-sci-fi-dystopia","authors":["byline_arts_13935508"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_3797","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13935509","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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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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