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ACL's 50th, a quirky radio host, and more slated for 2024-2025 by Austin PBS

Austin PBS 2024-2025

Austin PBS announced new seasons and programs for 2024-2025 at its second annual Made In Austin event.

Photo by David Brendan Hall

There's plenty to see in Austin; Just take a walk around any older neighborhood and you'll find at least a few hidden gems. But sometimes discovery just feels better from the couch. Austin PBS is ready to help with a slate of new programming for 2024-2025, including both original shows and "local initiatives."

Also known as KLRU-TV, Austin PBS is best known for its widely renowned Austin City Limits music series, which is celebrating its 50th anniversary this year. It also airs other popular programs that aren't nationally famous, like Central Texas Gardener and Taco Mafia — both returning with new material this year.

Most notable in the mass announcement is the launch of a new multi-platform news show, airing weekly beginning later in 2024. Fans of Decibel, an existing hyperlocal, "community-led journalism project" that focuses on local social issues in historical context, will likely enjoy this new project, which according to the press release "build[s] upon" the former's reporting. It will cover topics within politics, education, economy, and culture, among other areas.

The CultureMap Austin team has also been looking forward to seeing Faders Up: The John Aielli Experience hit the schedule after watching the documentary at South by Southwest. This emotional story celebrates one of Austin's most eccentric cultural icons, the late KUTX radio host John Aielli. Clearly made with love, this documentary features Aielli's family and coworkers — many of whom are still working around town — and raises questions about how well Austin's current media landscape is living up to its weird past.

Trailer for Faders Up: The John Aielli Experience.Courtesy of Austin PBS

“Public broadcasting isn't just about what we do; it's about who we are as a community, and we are thrilled to be celebrating the second year of [the local premiere night] Made in Austin to share the exciting projects we’ve been working on,” said President and CEO of Austin PBS Luis Patiño via a release.

“It’s been incredible to see the support and excitement of original programming we launched last year," Patiño continued, "from the storytelling of our diverse community with Taco Mafia to in-depth interviews with public figures on Overheard With Evan Smith, and we are looking forward to another year of impactful content that enriches and transforms the communities we serve."

The following new programs (described in PBS's original language) also announced launches in 2024-2025:

Moon Shadow, a multi-platform educational project about the science and symbolism of eclipses
Shaking It Up: The Life and Times of Liz Carpenter, a documentary film about the journalist and vice-presidential adviser and her story of blazing professional trails while pushing forward an agenda for women’s rights
The Only Day We Have shares Allan Cole’s story of living day to day with young-onset Parkinson’s disease
Chasing the Tide, a six-part documentary series that follows wife and husband duo Chrissy and Jay Kleberg as they walk the entire length of Texas’ seven barrier islands, highlighting the beauty and complexity of the state’s coast
The Stones Are Speaking, focuses on one of the most significant cultural sites in the Western Hemisphere, The Gault Archaeological Site in Central Texas
Live From the LBJ Library With Mark Updegrove ... featuring interviews with preeminent thought leaders about issues vital to America’s future.

Existing shows with new seasons include:

Blackademics
On Story
Overheard With Evan Smith
Central Texas Gardener
Austin City Limits
Taco Mafia

Finally, Austin PBS invites community members to a special taping with Austin’s Christian Wiggs Big Band and special guest Benny Benack III. The taping takes place May 23 at 7:30 pm. at the Austin Media Center. RSVP here.

All programs will be available for viewing on KLRU-TV, AustinPBS.org, and the Austin PBS app. More information about the programs is available at austinpbs.org.

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Movie Review

Amazing graphics do lion's share of the work in Mufasa: The Lion King

Sarabi, Mufasa, and Rafiki in Mufasa: The Lion King

Photo courtesy of Disney

Sarabi, Mufasa, and Rafiki in Mufasa: The Lion King.

The 2019 “live action” remake of The Lion King had two big things going for it: People’s love for the original 1994 animated film and a filmmaking style that made the completely CGI film appear photorealistic. The new prequel, Mufasa: The Lion King, has the second element to lean on, but it must win moviegoers over with some familiar characters in a whole new story.

The origin story of Mufasa (voiced by Aaron Pierre) is broached by having it be told to Kiara (Blue Ivy Carter), the daughter of Simba (Donald Glover) and Nala (Beyoncé), by Rafiki (John Kani), Timon (Billy Eichner), and Pumbaa (Seth Rogen), the first of a series of unnecessary decisions in the film.

As the film tells it, a young Mufasa is on his way to a new home with his parents when he’s washed away by a flash flood. Lost and alone, he’s discovered by Taka (Kelvin Harrison, Jr.), who convinces his mom, Eshe (Thandie Newton), to take Mufasa into their pride, although Taka’s dad, Obasi (Lennie James), is less welcoming.

Mufasa, who proves himself to be brave and daring, and Taka, who's loyal but somewhat weak-willed, grow from cubs into young lions, and their adventures together eventually grow to include a young Rafiki (Kagiso Ledika), as well as Sarabi (Tiffany Boone) and her hornbill companion, Zazu (Preston Nyman). They’re also menaced by a pride of white lions led by Kiros (Mads Mikkelsen), who waste no opportunity to threaten the other lions’ way of life.

Directed by Barry Jenkins and written by Jeff Nathanson, the film — like its 2019 predecessor — has absolutely gorgeous visuals. Using a mixture of real locations and computer generated imagery, Jenkins and his team created a world that feels fully immersive. Everything from the water to the grass to the animals looks like it actually exists, which is an amazing accomplishment and should be celebrated as such.

But the level of detail on that side of the film only increases the level of disappointment with the story. Given the chance to create something new, the filmmakers instead seem to treat the film as just a way to introduce every significant symbol from the original story. You would have thought having young versions of familiar characters would be enough, but instead they go overboard with references, including the creation of a certain location that is patently ridiculous.

Nathanson also overloads the plot with characters and twists. Mufasa’s rise from a nobody to king is faced with multiple obstacles, way too many for what should have been a much simpler story. And Lin-Manuel Miranda’s streak of great music in Disney films ends here, as none of the four songs he contributed work very well. Some are undone by odd phrasing by the performers, and others look strange coming out of the mouths of the characters, but either way, the songs just don’t connect.

The voice performances neither elevate the film nor take away from it. Pierre (Rebel Ridge) and Harrison (Waves) are rising stars in actual live action films, but their appearances here are negligible to the impact of their characters. Mikkelsen (Rogue One) is known for playing great bad guys, and he’s okay here, but nothing to write home about. The rest of the performers don't offer anything special to their roles, including Beyoncé and her daughter, Blue Ivy.

For those who are only looking for “Oh, that’s where that came from!” moments, Mufasa: The Lion King may fit the bill. But for anyone who may want something more than a version of nostalgia, especially from a visionary director like Jenkins, it serves as nothing more than two hours of pretty vistas.

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Mufasa: The Lion King opens in theaters on December 20.

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