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'When I Think of You' could be a ripped-from-the-headlines Hollywood romance

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'When I Think of You' could be a ripped-from-the-headlines Hollywood romance
Cover of When I Think of You

An edgy, hyper-current Hollywood based second-chance romance between former college sweethearts, Myah Ariel’s debut novel When I Think of You radiates breakout energy. It’s like a fizzy, angsty mash-up of Bolu Babalola’s 2022 campus love story Honey and Spice and Kennedy Ryan’s movie set workplace romance Reel as the challenges of doing meaningful work in Hollywood threaten two young lovers’ romantic reunion.

Kaliya Wilson is an under-employed and chronically under-appreciated film school graduate in Los Angeles; her filmmaker ex-boyfriend Danny Prescott is the only son of a legendary director. Years after their breakup, he’s on the cusp of making a movie inspired by his parents’ epic interracial romance, which began in the Jim Crow South, while she’s stuck behind the reception desk of a studio. They haven’t spoken in years, and the breakup was abrupt and brutal. So when Danny walks back into Kaliya’s life offering a coveted slot on his team, she’s in a difficult spot. This film offers a chance to get out of a dead-end job she’s been stuck in “for three years too long” and into the creative trenches. It also means reentering the orbit of the person who should have been her one true love but instead ripped her heart to pieces.

When I Think of You’s premise is enticing and well executed — multilayered and well-written with characters that are nuanced and human. Ariel draws both the characters and their challenging situations with wry, exacting precision. The pleasure is in the details. In the face of an opportunity of a lifetime, Kaliya hesitates because, as Danny notices with chagrin, she doesn’t trust him. Their totally sweet, storybook college romance burned fast and hot and ended badly, and ever since Kaliya has wanted nothing to do with Danny. Ariel depicts this vividly showing that even compared to the drudge work and petty humiliations she endures on a daily basis, for Kaliya “somehow Danny’s return is more upsetting.”

It’s also nice to read a romance in which both of the 20-something characters are so equally loveable, vulnerable and fallible. Danny is talented, hard-working and earnest but also, admittedly, that most infamous of Gen Z stereotypes – a Hollywood nepo-baby. As Ariel writes: “everybody knows exactly who Danny is: the son of Nathan Prescott — prolific auteur director and four-time Oscar winner, who, according to our film school textbooks, perpetually succeeded in striking the elusive balance between art and commerce.” As the biracial son of a famous director, Danny enjoys multiple privileges, some more obvious than others. He’s had a major advantage in a world that Kaliya finds almost impenetrable. Danny knows the industry, but doesn’t really get how hard it is for a young Black woman who lacks his contacts to gain traction in her career. When they meet again, he asks her what happened to her as if the idea of not making it in this world is inexplicable. Ariel also explores Danny’s masculinity and light skinned, biracial white adjacency, a type of privilege that isn’t often explored and called out as precisely in traditionally published romantic fiction (writers like Kennedy Ryan and Bolu Babalola being two notable exceptions). Ariel handles all of these nuances of identity effectively.

What’s especially effective about this nuanced character work is how well it dovetails with events unfolding in the movie’s production and the hurdles that these characters face at work and in their relationship. An early consequence of Danny’s lack of savvy (and lack of backbone at times) is that Kaliya gets a demotion from personal assistant to production assistant before she even starts due to the nepotism of a minor character who will eventually play a pivotal role. The revelation is a blow, which Kaliya struggles to rationalize to her best friend and roommate Neha, saying: “I guess I can’t really be mad at Danny…Bella’s family basically went behind his back to buy her that job on the production, and with the future of the movie hanging in the balance, his hands are tied.” Fair enough, but as Ariel smartly has Nyah point out, it’s also true that Danny convinced her “to quit your job and work for him without making sure he could actually follow through on the offer.” Within this unmeritocratic and cutthroat world, Danny’s blindness to his industry’s and business partners’ biases and manipulations realistically put his movie and his relationship with Kaliya in jeopardy.

Some romance purists might balk at the weight placed on the professional conflict and personal growth, but their connection is beautiful and the personal, professional and the (implicitly) political all blend together very convincingly in Ariel’s hands. The drama unfolding behind the scenes of the movie, which pulls the two leads apart, has a ripped-from-the-headlines feel. Controversies over sleeping with “the help,” nepotism and wokeness are all depicted with journalistic precision. There’s even an antagonist that sounds like billionaire Nathan Peltz, who last month challenged Disney’s leadership for control of the company’s creative direction. Arguing that there was too much attention to diversity and wokeness, Peltz said, “People go to watch a movie or a show to be entertained […] They don’t go to get a message,” questioned “Why do I have to have a Marvel that’s all women?” and criticized Black Panther’s Black cast. But the Disney battle and Peltz’s statements came long after Ariel finished her manuscript.

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The similarities between the Disney fight and Danny and Kaliya’s studio battle is a testament to how well the author knows this territory. Like her leads, Ariel is an NYU Tisch Film school grad who worked in Los Angeles. She knows their world intimately. In When I Think of You, Ariel transforms hard-won knowledge into a compelling romantic fiction that is a lovely balance of realism and swoon.

A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter @BellCV.

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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

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Hungarian filmmaker Béla Tarr — known for bleak, existential movies — has died

Hungarian director Béla Tarr at the Berlin International Film Festival in 2011.

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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.

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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.

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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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Epic stretch of SoCal rainfall muddies roads, spurs beach advisories. When will it end?

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Epic stretch of SoCal rainfall muddies roads, spurs beach advisories. When will it end?

California’s wet winter continued Sunday, with the heaviest rain occurring into the evening, and more precipitation forecast for Monday before tapering off on Tuesday, according to the National Weather Service.

A flood advisory was in effect for most of Los Angeles County until 10 p.m.

Los Angeles and Ventura counties’ coastal and valley regions could receive roughly half an inch to an inch more rain, with mountain areas getting one to two additional inches Sunday, officials said. The next two days will be lighter, said Robbie Munroe, a meteorologist at the weather service office in Oxnard.

Rains in Southern California have broken records this season, with some areas approaching average rain totals for an entire season. As of Sunday morning, the region had seen nearly 14 inches of rain since Oct. 1, more than three times the average of 4 inches for this time of year. An average rain season, which goes from July 1 to June 30, is 14.25 inches, officials said.

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“There’s the potential that we’ll already meet our average rainfall for the entire 12-month period by later today if we end up getting half an inch or more of rain,” Munroe added.

The wet weather prompted multiple road closures over the weekend, including a 3.6-mile stretch of Topanga Canyon Boulevard between Pacific Coast Highway and Grand View Drive as well as State Route 33 between Fairview Road and Lockwood Valley Road in the Los Padres National Forest. The California Department of Transportation also closed all lanes along State Route 2 from 3.3 miles east of Newcomb’s Ranch to State Route 138 in Angeles National Forest.

Los Angeles County Department of Public Health officials say beachgoers should stay out of the water to avoid the higher bacteria levels brought on by rain.

After storms, especially near discharging storm drains, creeks and rivers, the water can be contaminated with E. coli, trash, chemicals and other public health hazards.

The advisory, which will be in effect until at least 4 p.m. Monday, could be extended if the rain continues.

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In Ventura County on Sunday, the 101 Freeway was reopened after lanes were closed due to flooding Saturday. But there was at least one spinout as well as a vehicle stuck in mud on the highway Sunday, according to the National Weather Service. The freeway was also closed Saturday in Santa Barbara County in both directions near Goleta due to debris flows but reopened Sunday, according to Caltrans.

Santa Barbara Airport reopened and all commercial flights and fixed-wing aircraft were cleared for normal operations Sunday morning. The airport had shut down and grounded all flights Saturday due to flooded runways.

In Orange County early Sunday afternoon, firefighters rescued a man clinging to a section of a tunnel in cold, fast-moving water in a storm channel at Bolsa Avenue and Goldenwest Street in Westminster, according to fire officials.

A swift-water rescue team deployed a helicopter, lowered inflated firehoses and positioned an aerial ladder to allow responders to secure the man and bring him to safety before transporting him to a hospital for evaluation.

Heavy rains continued to batter Southern California mountain areas. Wrightwood in San Bernardino County — slammed recently with mud and debris — was closed Sunday except to residents as heavy equipment was brought in to clear mud and debris from roadways, the news-gathering organization OnScene reported.

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After canceling live racing on New Year’s Eve and New Year’s Day due to heavy showers, Santa Anita Park also called off events Saturday and Sunday.

After several atmospheric river systems have come through, familiar conditions are set to return to the region later this week.

“We’ll get a good break from the rain and it’ll let things dry out a little bit, and we may even be looking at Santa Ana conditions as we head into next weekend,” Munroe said. The weather will likely be “mostly sunny” and breezy in the valleys and mountains.

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

Millie Bobby Brown in the final season of Stranger Things.

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After five seasons and almost ten years, the saga of Netflix’s Stranger Things has reached its end. In a two-hour finale, we found out what happened to our heroes (including Millie Bobby Brown and Finn Wolfhard) when they set out to battle the forces of evil. The final season had new faces and new revelations, along with moments of friendship and conflict among the folks we’ve known and loved since the night Will Byers (Noah Schnapp) first disappeared. But did it stick the landing?

To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.

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