Lifestyle
The River Runs Free
For the first time in more than a century, the Klamath River began flowing unobstructed on Aug. 28 from the river’s mouth to Keno Dam, just below Upper Klamath Lake, opening hundreds of miles of salmon habitat and bringing a generational effort to the brink of completion.
The moment an excavator broke open the last coffer dam holding the river back at what used to be Iron Gate Dam, letting the Klamath River spill into its natural path, it was met with cheers and tears by more than 100 tribal members, environmentalists and officials watching, many of whom had spent years — if not decades — working to free the river from the dams that had choked it for decades.
“It was kind of a magic moment,” says Craig Tucker, a consultant with the Karuk Tribe who has worked for removal of the four dams on the lower Klamath River for more than 20 years. “You know how you have those milestone moments — like when you graduate from college and walk across the stage, and you don’t really feel different? This felt different. It was like something monumental just happened, like the river is now a river, and there were a flood of emotions that went along with that. Lots of hugs.”
But while the sun has nearly set on the largest dam removal effort in United States history, the work is not done and the sun is just rising on what is hoped to be one of the largest restoration efforts on record, a years-long effort to restore the lower Klamath River and its surrounding ecosystem to its natural state.
Work will continue through October to remove the last remnants of the four dams and their ancillary structures, as a team of biologists and ecologists work to manage a significant remaining threat to the adult salmon just entering the river’s mouth. Meanwhile, work is underway to continue replanting and reseeding thousands of acres of land that sat for decades covered by man-made reservoirs, and to open up hundreds of miles of salmon-bearing tributaries and restore them to health.
If you happen by just about any section of the lower Klamath River these days, you’ll likely notice it resembles chocolate milk, turbid and muddy, filled with sediment that had been trapped for generations behind the dams.
“Removing dams is like open heart surgery, it’s traumatic to the patient,” Tucker says. “But you do things to mitigate the impacts.”
Since the earliest stages of planning to remove the four dams — Iron Gate, Copco 1, Copco 2 and J.C. Boyle — there have been concerns about the impact of releasing the estimated 15 million cubic yards of sediment trapped behind them. Crews drew down the reservoirs behind the dams in the winter months, so naturally high-river flows would flush the sediment out to sea.
- Photo courtesy of Swiftwater Films
- A tribal ecologist plants native starts in the newly exposed mudflat of a former reservoir.
That was successful, Tucker says, but now the concern is that as the last temporary coffer dams are removed, it will release another flush of sediment — a very fine particulate resulting from years of decomposing, dead algae. The substance is anoxic, meaning it will suck oxygen from the surrounding water when released, and is too fine and liquid to scoop out with a backhoe and put in a truck. Releasing it all at once — or waiting for a rain event that would do the same — could “nuke the river,” Tucker says, killing all those adult salmon just returning to spawn. As such, he says crews are currently releasing 5,000 cubic yards at a time while biologists monitor oxygen levels down river.
“We want to get all this stuff out before the adults would reach Iron Gate, but we can’t evacuate it too quickly or we’ll affect the oxygen levels,” Tucker says, conceding it’s a tricky balance that will continue until those fish reach what used to be Iron Gate Dam, which is expected to happen Sept. 20.
The good news, Tucker says, is that salmon are resilient and can deal with some turbidity, and that no matter what happens, this year will be a singular impact that will pale in comparison to the annual impacts of blocked fish passage and poor water quality the dams created.
“This is temporary,” he says. “It’s not going to look like this forever.”
Meanwhile, work to restore the Klamath River Valley is ramping up. While seeding and planting efforts began in concert with the reservoir draw downs — with ecologists wanting to get native seed mixes on the freshly exposed reservoir floors while they were still saturated and wet — they are entering a new stage.
Dave Coffman, a geoscientist for Resource Environmental Solutions (RES), a subcontractor leading the restoration effort, says teams have spent years planning the restoration effort — amassing a bank of more than 17 billion native seeds and 300,000 tree and shrub plugs — the full reality of the job is just coming into focus.
“We spent five years planning a restoration project that we just now have access to,” he says, explaining that only after the reservoirs were drawn down, allowing the river to find its path through former beds, could crews collect soil samples and test composition. “We are drinking from a fire hose when it comes to learning about our site.”
Currently, he says, crews are hard at work using farming equipment to break up the dry, cracked, clay-like substance that covers the newly exposed reservoir floors, preparing them for another seeding effort. Meanwhile, he says, boulders and rocks — some taken from the earthen fill dams themselves — will be placed on the newly exposed bedrock that once supported the dams, providing important habitat that can provide respite for migrating adult salmon and protection for vulnerable fry. Then there’s all those tributaries, some which have themselves been choked with sediment from decades of flowing into stagnant reservoirs. Coffman says crews will take a case-by-case approach, using equipment to excavate sediment from some, nudging others to their historic footprints, removing fish passage barriers in some and adding fallen trees to create shelter in others.
Joshua Chenoweth, a senior riparian ecologist for the Yurok Tribe, who says he’s primarily responsible for reseeding the 2,000 acres of newly exposed reservoir floor, says crews will begin work in October to reseed areas that couldn’t be reached when the reservoirs were drained, adding they also have 116,000 shrub and tree plugs to plant this year. Chenoweth says the seed mixes are being tweaked — with some species added and others taken out — to fit conditions of each of the former reservoirs. Another round of seeding and planting is slated for 2025.
Tucker says one thing that dawned on him when he was standing at the foot of the valley that once held Iron Gate Reservoir is that the watershed will soon have two big valleys that will soon be restored to a natural state.
“I don’t know of any river valleys of this size on the West Coast that are undeveloped,” he says. “We can really make this a wild, naturally productive place again.”
And Tucker and others underscored that this moment would not have been possible without decades of activism from tribal nations, including the Karuk and Yurok tribes on the lower Klamath, whose culture and sustenance have been interwoven with the river for millennia.
North Coast Congressmember Jared Huffman, who joined the fight in 2012 after redistricting shifted congressional district boundaries and played an important role in the pressure campaign that ultimately brought PacifiCorp, the Berkshire Hathaway subsidiary that owned the dams, back to the negotiating table, spent some time on the river last week.
- Photo by Matt Mais/Yurok Tribe
- A recently planted blossoming Menzie’s fiddleneck attracts a painted lady butterfly as a part of an effort to add small flowering plants to the landscape that will aid pollinators.
“Being part of this journey is just magic, so much so that I didn’t mind at all that the river water looked like the Mississippi,” he says, adding that the magnitude of the moment is palpable. “It’s huge. There’s no way to overstate it. This has been so long in coming, and it embodies so many hopes and dreams and long-standing grievances and injustices. It’s very emotional for the tribal leaders who I work with, who have been in the trenches for decades in some cases. You can just sense a new hope and sense of satisfaction. They’re practically beaming with it.”
In a statement issued after the last coffer dam was breached late last month, Yurok Vice Chair Frankie Myers noted the effort was never a choice for tribal members.
“The dams that have divided the basin are now gone and the river is free,” he said. “Our sacred duty to our children, our ancestors, and for ourselves, is to take care of the river, and today’s events represent a fulfillment of that obligation.”
But restoration will continue, and Coffman says RES’ obligation remains, noting that work and monitoring efforts will continue for a minimum of five years. Ultimately, however, he says the company is bound not by time but a performance guarantee, having promised to meet certain benchmarks — like vegetative cover, trees per acre, species diversity — before the job is done.
“Nobody has ever done something like this before,” he says. “We’re here to see this landscape recover, here to steward it through to recovery alongside our tribal partners, the folks who have been stewarding these landscapes for millennia.”
Thadeus Greenson (he/him) is the Journal’s news editor. Reach him at (707) 442-1400, extension 321, or [email protected]
Copco 2 Dam
Build: Copco 2, a 33-foot-tall concrete dam that stretches 278 feet wide and sits between the much larger Copco 1 and Iron Gate dams, was constructed in 1925 as a diversion dam, running water from the river through a nearby powerhouse to generate electricity.
Removal: The first dam removed, Copco 2 was demolished in July of 2023 when the Klamath River Renewal Corporation brought heavy equipment into the area to prep Copco 1 for the drawing down of its reservoir in January. Contractors drilled holes 12 to 15 feet into the concrete of Copco 2, filled them with explosives and detonated them, then used hydraulic picks and other machinery to break down the rubble until it was manageable and could be hauled away.
Restoration: Due to the small footprint of Copco 2 and its proximity to Copco 1, it was not considered a primary restoration focus. Dave Coffman, a geoscientist for Resource Environmental Solutions (RES), says because Copco 2 was built in a narrow bedrock canyon with steep slopes, its infeasible to do much restoration planting around it. As such, he says the plan is to essentially let nature run its course, hoping native plants growing above it will drop seed that will catch in the canyon walls.
Iron Gate Dam
Build: Constructed in 1962, Iron Gate Dam is the lowest of the dams that comprise the Klamath River Hydroelectric Project, creating an artificial lake that can hold up to 58,000 acre feet of water. Standing 173 feet tall and stretching 740 feet wide, the earthen embankment dam was constructed of compacted earth under a waterproof surface.
Removal: Iron Gate Dam was removed from the top down, with excavators removing the approximately 1 million cubic yards of soil and earthen materials. Most of that earthen material was hauled away, though some was used on site to fill a spillway and a massive erosion hole it had created. Work continues to dismantle the last vestiges of the dam, as well as its ancillary structures.
Restoration: The primary restoration areas around the former Iron Gate Reservoir are the reservoir bed itself, which crews began seeding and replanting with native species as the reservoir was drawn down, and its main tributaries, including Jenny Creek, the Camp Creek Complex and Scotch Creek. Approximately 388,000 cubic yards of sediment were mechanically removed. Joshua Chenoweth, a senior riparian ecologist with the Yurok Tribe, says crews are utilizing a different seeding and planting strategy in the Iron Gate Reservoir than those upstream because it’s at a lower elevation with a different climate. As such, he says they’re using a customized native seed mix and planting tress like oaks and junipers, which aren’t found upriver around J.C. Boyle, as well as scrub shrubs. And even within the reservoir itself, there’s variation, according to Dave Coffman, a geoscientist for Resource Environmental Solutions (RES), who says crews are tailoring vegetation different for the valley’s north- and south-facing slopes. “Even within the Iron Gate Reservoir itself, there’s not a one-size-fits-all approach to vegetation restoration,” Coffman says.
J.C. Boyle Dam
Build: Built in 1958, the John C. Boyle Dam — commonly referred to J.C. Boyle — stood 68 feet tall and 693 feet wide, creating its namesake reservoir that held 4,200 acre feet of water. The farthest upriver of the four lower Klamath dams, it was comprised of concrete and earthfill embankment.
Removal: Existing culverts were used to draw down the J.C. Boyle reservoir, after which crews demolished its spillway portion with hydraulic hammers mounted to a large excavator, progressively breaking the concrete into pieces that could be removed and hauled. Excavators and trucks then removed the earthen portion of the dam.
Restoration: The primary restoration focus around J.C. Boyle Dam is the former reservoir site, which was seeded and planted starting when drawdown began, as well as Spencer Creek and several unnamed tributaries that have reconnected with the river’s main stem. An estimated 40,000 cubic yards of sediment was also mechanically removed. Because the J.C. Boyle Reservoir sees moisture before those downriver, Dave Coffman, a geoscientist for Resource Environmental Solutions (RES), says his crews have started there, using pasture remediators — a kind of farming equipment — to break up the dried clay-like reservoir beds, which Yurok Senior Riparian Ecologist Joshua Chenoweth says have cracks running 2-feet deep in some places. After the soil is broken up, crews will hand plant a custom seed mix, with Chenoweth noting, “Seed germination is all about the seed-to-soil contact,” so the soil preparation work is crucial. Additionally, whereas downriver plantings will see a mix of oaks and junipers, Coffman says the J.C. Boyle area will see more ponderosa pines.
Copco 1 Dam
Build: Built in 1918, Copco 1 is a gravity dam that stands 125 feet tall and stretches 415 feet wide, creating a reservoir capacity of 46,900 acre feet in Copco Lake, which sits in Siskiyou County near the Oregon border.
Removal: Work to deconstruct Copco 1 Dam began with the installation of a “work pad” at its downstream base to allow a stable work area for heavy equipment. Crews then used a drill-and-shoot method to bore a 10-foot-wide tunnel through the dams base, meaning they repeatedly drilled into the dam, packed the hole with explosives, detonated them and excavated the rubble until they’d dug a 150-foot-long tunnel, leaving just a final plug of concrete to keep the water from escaping. In January, crews then blasted this plug, opening the tunnel to begin drawing down the reservoir. The dam was then removed much the same as Copco 2, just on a much larger scale, with crews drilling and blasting it apart, reducing it to rubble that can be hauled from the site by truck. Work continues to remove the last pieces of the dam, as well as the dam house.
Restoration: The primary focus of restoration efforts at the former site of Copco 1 have been Beaver Creek Complex, Deer Creek and the spring-fed floodplain. An estimated 346,000 cubic yards of sediment was mechanically removed from the area. While the Copco Lake area is somewhat similar to Iron Gate downriver, Dave Coffman, a geoscientist for Resource Environmental Solutions (RES), points out that they’re still separated by 30 miles, noting that it’s not uncommon to see snow at Copco 1 after temperatures have warmed significantly at Iron Gate. As such, while the seed mixes are generally the same, Coffman says crews are taking a customized approach to the reservoir. Coffman notes that a lava flow once blocked the Klamath River there, creating a flat, lacustrine valley that persisted for thousands of years before the river eroded it and broke through. After reservoir draw down, Coffman says it was discovered there are natural springs in the valley nobody thought would be there, saying restoration is now being tailored to include more wetland areas to accommodate “pretty significant spring flows that come from the north side of the valley.”
Lifestyle
Timothée Chalamet brings a lot to the table in ‘Marty Supreme’
Timothée Chalamet plays a shoe salesman who dreams of becoming the greatest table tennis player in the world in Marty Supreme.
A24
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A24
Last year, while accepting a Screen Actors Guild award for A Complete Unknown, Timothée Chalamet told the audience, “I want to be one of the greats; I’m inspired by the greats.” Many criticized him for his immodesty, but I found it refreshing: After all, Chalamet has never made a secret of his ambition in his interviews or his choice of material.
In his best performances, you can see both the character and the actor pushing themselves to greatness, the way Chalamet did playing Bob Dylan in A Complete Unknown, which earned him the second of two Oscar nominations. He’s widely expected to receive a third for his performance in Josh Safdie’s thrilling new movie, Marty Supreme, in which Chalamet pushes himself even harder still.
Chalamet plays Marty Mauser, a 23-year-old shoe salesman in 1952 New York who dreams of being recognized as the greatest table-tennis player in the world. He’s a brilliant player, but for a poor Lower East Side Jewish kid like Marty, playing brilliantly isn’t enough: Simply getting to championship tournaments in London and Tokyo will require money he doesn’t have.

And so Marty, a scrappy, speedy dynamo with a silver tongue and inhuman levels of chutzpah, sets out to borrow, steal, cheat, sweet-talk and hustle his way to the top. He spends almost the entire movie on the run, shaking down friends and shaking off family members, hatching new scams and fleeing the folks he’s already scammed, and generally trying to extricate himself from disasters of his own making.
Marty is very loosely based on the real-life table-tennis pro Marty Reisman. But as a character, he’s cut from the same cloth as the unstoppable antiheroes of Uncut Gems and Good Time, both of which Josh Safdie directed with his brother Benny. Although Josh directed Marty Supreme solo, the ferocious energy of his filmmaking is in line with those earlier New York nail-biters, only this time with a period setting. Most of the story unfolds against a seedy, teeming postwar Manhattan, superbly rendered by the veteran production designer Jack Fisk as a world of shadowy game rooms and rundown apartments.
Early on, though, Marty does make his way to London, where he finagles a room at the same hotel as Kay Stone, a movie star past her 1930s prime. She’s played by Gwyneth Paltrow, in a luminous and long-overdue return to the big screen. Marty is soon having a hot fling with Kay, even as he tries to swindle her ruthless businessman husband, Milton Rockwell, played by the Canadian entrepreneur and Shark Tank regular Kevin O’Leary.
Marty Supreme is full of such ingenious, faintly meta bits of stunt casting. The rascally independent filmmaker Abel Ferrara turns up as a dog-loving mobster. The real-life table-tennis star Koto Kawaguchi plays a Japanese champ who beats Marty in London and leaves him spoiling for a rematch. And Géza Röhrig, from the Holocaust drama Son of Saul, pops up as Marty’s friend Bela Kletzki, a table tennis champ who survived Auschwitz. Bela tells his story in one of the film’s best and strangest scenes, a death-camp flashback that proves crucial to the movie’s meaning.
In one early scene, Marty brags to some journalists that he’s “Hitler’s worst nightmare.” It’s not a stretch to read Marty Supreme as a kind of geopolitical parable, culminating in an epic table-tennis match, pitting a Jewish player against a Japanese one, both sides seeking a hard-won triumph after the horrors of World War II.

The personal victory that Marty seeks would also be a symbolic one, striking a blow for Jewish survival and assimilation — and regeneration: I haven’t yet mentioned a crucial subplot involving Marty’s close friend Rachel, terrifically played by Odessa A’zion, who’s carrying his child and gets sucked into his web of lies.
Josh Safdie, who co-wrote and co-edited the film with Ronald Bronstein, doesn’t belabor his ideas. He’s so busy entertaining you, as Marty ping-pongs from one catastrophe to the next, that you’d be forgiven for missing what’s percolating beneath the movie’s hyperkinetic surface.
Marty himself, the most incorrigible movie protagonist in many a moon, has already stirred much debate; many find his company insufferable and his actions indefensible. But the movies can be a wonderfully amoral medium, and I found myself liking Marty Mauser — and not just liking him, but actually rooting for him to succeed. It takes more than a good actor to pull that off. It takes one of the greats.

Lifestyle
The Best of BoF 2025: A Year of Global Upheaval
Lifestyle
Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died
Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.
Andreas Rentz/Getty Images
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Béla Tarr, the Hungarian arthouse director best known for his bleak, existential and challenging films, including Sátántangó and Werckmeister Harmonies, has died at the age of 70. The Hungarian Filmmakers’ Association shared a statement on Tuesday announcing Tarr’s passing after a serious illness, but did not specify further details.
Tarr was born in communist-era Hungary in 1955 and made his filmmaking debut in 1979 with Family Nest, the first of nine feature films that would culminate in his 2011 film The Turin Horse. Damnation, released in 1988 at the Berlin International Film Festival, was his first film to draw global acclaim, and launched Tarr from a little-known director of social dramas to a fixture on the international film festival circuit.
Tarr’s reputation for films tinged with misery and hard-heartedness, distinguished by black-and-white cinematography and unusually long sequences, only grew throughout the 1990s and 2000s, particularly after his 1994 film Sátántangó. The epic drama, following a Hungarian village facing the fallout of communism, is best known for its length, clocking in at seven-and-a-half hours.
Based on the novel by Hungarian writer László Krasznahorkai, who won the Nobel Prize in Literature last year and frequently collaborated with Tarr, the film became a touchstone for the “slow cinema” movement, with Tarr joining the ranks of directors such as Andrei Tarkovsky, Chantal Akerman and Theo Angelopoulos. Writer and critic Susan Sontag hailed Sátántangó as “devastating, enthralling for every minute of its seven hours.”
Tarr’s next breakthrough came in 2000 with his film Werckmeister Harmonies, the first of three movies co-directed by his partner, the editor Ágnes Hranitzky. Another loose adaptation of a Krasznahorkai novel, the film depicts the strange arrival of a circus in a small town in Hungary. With only 39 shots making up the film’s two-and-a-half-hour runtime, Tarr’s penchant for long takes was on full display.
Like Sátántangó, it was a major success with both critics and the arthouse crowd. Both films popularized Tarr’s style and drew the admiration of independent directors such as Jim Jarmusch and Gus Van Sant, the latter of which cited Tarr as a direct influence on his films: “They get so much closer to the real rhythms of life that it is like seeing the birth of a new cinema. He is one of the few genuinely visionary filmmakers.”
The actress Tilda Swinton is another admirer of Tarr’s, and starred in the filmmaker’s 2007 film The Man from London. At the premiere, Tarr announced that his next film would be his last. That 2011 film, The Turin Horse, was typically bleak but with an apocalyptic twist, following a man and his daughter as they face the end of the world. The film won the Grand Jury Prize at the Berlin International Film Festival.
After the release of The Turin Horse, Tarr opened an international film program in 2013 called film.factory as part of the Sarajevo Film Academy. He led and taught in the school for four years, inviting various filmmakers and actors to teach workshops and mentor students, including Swinton, Van Sant, Jarmusch, Juliette Binoche and Gael García Bernal.
In the last years of his life, he worked on a number of artistic projects, including an exhibition at a film museum in Amsterdam. He remained politically outspoken throughout his life, condemning the rise of nationalism and criticizing the government of Hungarian leader Viktor Orbán.
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