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Young GulfShore 24 Review | Young Boats

Let's take a closer look at the young gulfshore 24 in this boat review from florida sportsman.

With the driver scanning the water for fish activity above and the anglers seated comfortably below this design is ideal for situational awareness across the board.

Spend any length of time fishing on the central west coast of Florida and you’ll likely notice a recurring theme in the design of choice among nearshore fishing guides. The design, featuring an elevated decked over fore and aft section with a recessed cockpit used for passenger seating, was popularized by Young Boats of Inglis.

The concept, which was introduced in their GulfShore line has become the gold standard for guides in this part of Florida and for good reason. Young Boats places the guide and control of all of the boats systems in the back of the boat ahead of the engine. It’s a brilliant layout that allows a guide to oversee all activity, spot fish, and control a trolling motor and stake anchors from an elevated perch. Seating for traveling between spots is just forward of this and can be configured in one or two rows for up to four passengers. Adding adequate seating for multiple passengers in front of the driver who can communicate easily with his party below is also wise. The remaining bow section is an incredibly roomy casting area for everyone to share fishing space. Utilizing most of the deck space forward for fishing room ensures plenty of elbow room for everyone.

Plenty of room for compartments lies below deck and a pair of live wells at 40 and 20-gallons respectively are standard equipment. A host of possibilities remain for using the remaining space from dry storage to insulated fish holds. The space beneath the raised decks can be configured to suit each individual’s needs. One of the many benefits of having a custom boat built is your ability to finish up with a boat perfectly suited to your style.

While the GulfShore boats were originally conceived as inshore platforms- as models increase in size they are much more capable of serving double duty both inshore and offshore. The GulfShore 24 proved to be very capable inshore and offshore in Stuart where we tested her. The fact that professionals who spend every hour of their work day on a boat are lining up to build one is testament to the quality and effectiveness of this model.

Young GulfShore 24 Specifications:

• Length: 24’ 1”
• Beam: 8’ 6”
• Draft: 11”
• Deadrise: 14-degrees
• Weight: 1650 (w/o power)
• Max HP: 350
• Fuel: 60 gallons
• MSRP: $93,700 (base price w/ Suzuki 300)

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• Sailboat Guide

Young 88 is a 29 ′ 3 ″ / 8.9 m monohull sailboat designed by Jim Young and built by Roger Land Yachts/Jim Young Marine Ltd. (NZ) starting in 1981.

Rig and Sails

Auxilary power, accomodations, calculations.

The theoretical maximum speed that a displacement hull can move efficiently through the water is determined by it's waterline length and displacement. It may be unable to reach this speed if the boat is underpowered or heavily loaded, though it may exceed this speed given enough power. Read more.

Classic hull speed formula:

Hull Speed = 1.34 x √LWL

Max Speed/Length ratio = 8.26 ÷ Displacement/Length ratio .311 Hull Speed = Max Speed/Length ratio x √LWL

Sail Area / Displacement Ratio

A measure of the power of the sails relative to the weight of the boat. The higher the number, the higher the performance, but the harder the boat will be to handle. This ratio is a "non-dimensional" value that facilitates comparisons between boats of different types and sizes. Read more.

SA/D = SA ÷ (D ÷ 64) 2/3

• SA : Sail area in square feet, derived by adding the mainsail area to 100% of the foretriangle area (the lateral area above the deck between the mast and the forestay).
• D : Displacement in pounds.

Ballast / Displacement Ratio

A measure of the stability of a boat's hull that suggests how well a monohull will stand up to its sails. The ballast displacement ratio indicates how much of the weight of a boat is placed for maximum stability against capsizing and is an indicator of stiffness and resistance to capsize.

Ballast / Displacement * 100

Displacement / Length Ratio

A measure of the weight of the boat relative to it's length at the waterline. The higher a boat’s D/L ratio, the more easily it will carry a load and the more comfortable its motion will be. The lower a boat's ratio is, the less power it takes to drive the boat to its nominal hull speed or beyond. Read more.

D/L = (D ÷ 2240) ÷ (0.01 x LWL)³

• D: Displacement of the boat in pounds.
• LWL: Waterline length in feet

Comfort Ratio

This ratio assess how quickly and abruptly a boat’s hull reacts to waves in a significant seaway, these being the elements of a boat’s motion most likely to cause seasickness. Read more.

Comfort ratio = D ÷ (.65 x (.7 LWL + .3 LOA) x Beam 1.33 )

• D: Displacement of the boat in pounds
• LOA: Length overall in feet
• Beam: Width of boat at the widest point in feet

Capsize Screening Formula

This formula attempts to indicate whether a given boat might be too wide and light to readily right itself after being overturned in extreme conditions. Read more.

CSV = Beam ÷ ³√(D / 64)

Competitive one-design class in New Zealand.

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How Young Yacht Owners Are Breaking the Rules of Boat Design

Stacked designs are a thing of the past for design-savvy generations from millennials to gen z., julia zaltzman, julia zaltzman's most recent stories.

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If yacht design is ultimately about creatively redefining available space, Dirand believes recent trends have missed the mark. “Yacht design has a disconnect with the ocean by minimizing outdoor space—equivalent to buying a waterfront home with no garden,” he explains, while characterizing many interiors as segmented and claustrophobic. This doesn’t float with a newer, more design-savvy generation of buyers, Dirand says: “Young owners’ preferences are honed by hospitality and a knowledge of architectural trends.” 

For Celerius, Dirand put his concepts into practice. He reduced the yacht’s overall height to streamline the profile, extended the length, and freed up the superstructure to create more open-deck areas. “For the interior, I also eschewed glossy finishes and hard angles in favor of soft edges and lots of wood,” he says. “You should feel like you’re on a yacht—less penthouse, more beach house.” 

Marie Soliman, the cofounder of Njord Interiors , burst onto the superyacht scene in 2019 with several imaginative designs, including one for the 273-foot Eden . “I’m an interior architect who brings a different energy than what is expected of a typical yacht designer,” she says. “Our clients like our ideas because they’re youthful, sometimes provocative, and often playful.” 

For David Weiss , an American designer who sees a revolution in the making, a cross-pollination of ideas is essential. He takes a bold, cinematic approach inspired by filmmakers and production designers. “People that have shaped our experiences with Star Wars, Avatar , and Marvel are my compatriots,” he says, calling their creative ethos a “no-rules space as far as design goes.” With regard to the finished product, Weiss believes the end result “should bring a realm of fantasy to the interior, with a new reality to the experience in general.” 

For a young California-based client’s 417-foot craft, Weiss situated the bay for the Venetian tender running transverse through the yacht, complemented by a private reception area where guests hop on and off. The top deck houses a sky bar surrounded by a rotating display of the owner’s motorbike collection, while his car collection is down near the tender garage—and there’s more innovation to come. “We’re working on a mechanism to slide a motorcycle down the aft superstructure so the owner can ride his favorite bike off the dock,” he notes. 

This surge in experimentation, driven by a young and financially flush demographic, is particularly well-timed, according to Weiss: “It’s not just that there’s more appetite for it now, but more ability to execute it as well.” 

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• By Saltwater Sportsman Staff
• Updated: October 3, 2001

The idea of a custom flats boat is no longer as odd as it once might have been. More and more custom manufacturers are making smaller boats designed for shallower waters. Young Boats brings a new twist to the theme – a custom builder that has introduced a production flats boat. Expect to see custom details in every aspect of the new Young 20, and at a reasonable price, too. With a draft of 11 inches fully loaded and a beam of 8 feet, the Young 20 offers 25 square feet of forward casting deck on a very stable platform. Raised hull sides offer a feel of security and keep fly lines in the boat on windy days. Young designed the hull with full reverse chines to knock down spray and deep-running strakes to provide lift and control. The sharp entry slices through chop to provide a smooth ride, while an 8-foot beam gives side-to-side stability. The design requires little to no trim tabs and planes quickly.Hand-laminated using advanced knitted fiberglass and lightweight resins, the hull contains no wood at all. The cockpit, deck and hatches, as well as the transom and stringers, are created from high-performance structural cored composites. Skid-resistant surfaces are molded into the deck and surface components. The boat features nine storage compartments with fitted hatches, including two 15-gallon dry storage compartments, as well as flush-mounted recessed hinges and deck hardware to keep the decks clear of casting obstructions. A 37-gallon livewell comes standard. Options include a poling platform, jack plate, additional livewell conversions, push pole holders and a trolling motor package. Engine options include 150- to 200-hp Mercury EFI or Optimax outboards.

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Review of Young 88

Basic specs., sailing characteristics.

This section covers widely used rules of thumb to describe the sailing characteristics. Please note that even though the calculations are correct, the interpretation of the results might not be valid for extreme boats.

What is Capsize Screening Formula (CSF)?

The capsize screening value for Young 88 is 2.40, indicating that this boat would not be accepted to participate in ocean races.

What is Theoretical Maximum Hull Speed?

The theoretical maximal speed of a displacement boat of this length is 6.9 knots. The term "Theoretical Maximum Hull Speed" is widely used even though a boat can sail faster. The term shall be interpreted as above the theoretical speed a great additional power is necessary for a small gain in speed.

The immersion rate is defined as the weight required to sink the boat a certain level. The immersion rate for Young 88 is about 177 kg/cm, alternatively 992 lbs/inch. Meaning: if you load 177 kg cargo on the boat then it will sink 1 cm. Alternatively, if you load 992 lbs cargo on the boat it will sink 1 inch.

Sailing statistics

This section is statistical comparison with similar boats of the same category. The basis of the following statistical computations is our unique database with more than 26,000 different boat types and 350,000 data points.

What is Motion Comfort Ratio (MCR)?

What is L/B (Length Beam Ratio)?

What is Displacement Length Ratio?

What is SA/D (Sail Area Displacement ratio)?

Maintenance

Are your sails worn out? You might find your next sail here: Sails for Sale

If you need to renew parts of your running rig and is not quite sure of the dimensions, you may find the estimates computed below useful.

This section shown boat owner's changes, improvements, etc. Here you might find inspiration for your boat.

Do you have changes/improvements you would like to share? Upload a photo and describe what to look for.

We are always looking for new photos. If you can contribute with photos for Young 88 it would be a great help.

If you have any comments to the review, improvement suggestions, or the like, feel free to contact us . Criticism helps us to improve.

Welcome to Young Boats, Inc.

Call us today 352.447.1330 or email us [email protected], the young boat lineup.

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• Sailboat Reviews

Affordable Cruising Sailboats

Practical sailor reviews nine used boats over 35 feet and under $75,000..

In a search for a budget cruiser, Practical Sailor examined a field of used sailboats costing less than $75K and built between 1978 and 1984. We narrowed the field to boats with sufficient accommodations for four people and a draft of less than 6 feet. One way to approach a used-boat search is to look for sailboats with informed, active owners associations and high resale values. Practical Sailor’s quest for recession-proof cruisers led us to the Allied Princess 36, Bristol 35.5C, Endeavour 37, S2 11.0, Freedom 36, ODay 37, Niagara 35, C&C Landfall 38, and the Tartan 37. The report takes a more in-depth look at the Tartan, C&C Landfall, and Niagara.

Let’s say you’re looking to buy a boat for summer cruising along the coastal U.S. or on the Great Lakes, one that, when the time is right, is also capable of taking you safely and efficiently to Baja or the Bahamas, and perhaps even island-hopping from Miami to the West Indies. Like most of us, your budget is limited, so a new boat is out of the question. Let’s set more specifics:

• Passes a thorough survey by a respected surveyor and has been upgraded to meet current equipment and safety standards. (These are old boats, after all, prone to all sorts of potentially serious problems.)
• Fun to sail inshore (which means not too heavy and not too big).
• Sufficient accommodations and stowage to cruise four people for two weeks.
• Popular model (active owners support group for help and camaraderie) with decent resale value
• Under $75,000.
• Monohull (multihulls violate the price cap, anyway).
• Draft of less than 6 feet (for the islands, mon).

In the February 2008 issue, we examined 30-footers from the 1970s , which is just above the minimum length for the Big Three: standing headroom, enclosed head, and inboard engine. Too small, however, to satisfy our new criteria. So we need to jump up in size. As we culled through the possibilities, we found a fairly narrow range of boat lengths and vintages that satisfy the criteria. Of course, there always are exceptions, but basically it is this: 35- to 38-footers built between 1978 and 1984. Bigger or newer boats that meet our criteria cost more than $75,000.

Heres the list of nine models we came up with: Allied Princess 36, Bristol 35.5C, C&C Landfall 38, Endeavour 37, Freedom 36, Niagara 35, ODay 37, S2 11.0, and the Tartan 37. All were built by reputable companies in the U.S. or Canada, with underwater configurations ranging from full keels with attached rudders to fin keels and spade rudders. Displacements are mostly moderate.

Below we present notes on six of the finalists. Details of our 3 favorites are linked to the right of this page.

ALLIED PRINCESS 36

Allied Yachts developed an excellent line of cruising sailboats in the 1960s, including the first fiberglass boat to circumnavigate, the Seawind 30 ketch, which later was expanded to the 32-foot Seawind II. The handsome Luders 33 was the boat in which teenager Robin Lee Graham completed his historic circumnavigation. Arthur Edmunds designed the full-keel Princess 36 aft-cockpit ketch and the larger Mistress 39 center-cockpit ketch. None of these boats are fancily finished, but the fiberglass work is solid and well executed. They’re ocean-worthy, and affordable. The Princess 36 was in production from roughly 1972 to 1982. Wed look for a later model year; prices are under $50,000.

BRISTOL 35.5C

Bristol Yachts was founded by Clint Pearson, after he left Pearson Yachts in 1964. His early boats were Ford and Chevy quality, good but plainly finished, like the Allieds. Over the years this changed, so that by the late 1970s and early 1980s, his boats were between Buicks and Cadillacs in overall quality. This includes the Ted Hood-designed 35.5C. Its a centerboarder with a draft from 3 feet, 9 inches board up to 9 feet, 6 inches board down; a keel version also was available (named without the “C”).The solid fiberglass hull was laid up in two halves and then joined on centerline. It had an inward-turning flange on the hull, superior to the more common shoebox hull-to-deck joint. The 35.5C is very good in light air, but tender in a breeze. Pick one up for around $60,000.

ENDEAVOUR 37

The Endeavour Yacht Corp. was founded in 1974, and its first model was a 32-footer, built in molds given to it by Ted Irwin. Yup, the Endeavour 32 has the same hull as the Irwin 32. Its second model was the Endeavour 37, based on a smaller, little known Lee Creekmore hull that was cut in half and extended. Its not the prettiest boat in the world, and not very fast, but heavily built. Owners report no structural problems with the single-skin laminate hull. It has a long, shoal-draft keel and spade rudder. What helped popularize the Endeavour 37 was the choice of layouts: an aft cabin with a quarter berth, a V-berth and quarterberth, and a (rare) two aft-cabin model. Production ended after 1983. Prices are around $50,000.

After the Halsey Herreshoff-designed Freedom 40 that reintroduced the idea of unstayed spars, several other designers were commissioned to develop the model line-up. These included David Pedrick and Gary Mull; the latter drew the Freedom 36, in production from about 1986 to 1989. While the early and larger Freedoms were ketch rigged, models like the 36 were sloops, which were less costly to build and easier to handle. To improve upwind performance, a vestigial, self-tacking jib was added. Thats the main appeal of these boats: tacking is as easy as turning the wheel. The 36s hull is balsa-cored, as is the deck. Balsa adds tremendous stiffness, and reduces weight, which improves performance. The downside: Core rot near the partners on this boat could lead to a dismasting and costly hull damage. Interior finishing is above average. These boats sell right at our price break: low to mid-$70s.

This low-profile family sloop was second only to the ODay 40 in size of boats built by ODay under its various owners. Founded by Olympic gold-medalist George ODay to build one-designs and family daysailers, subsequent ownership expanded into trailer sailers and small- to medium-size coastal cruisers. Like the others, the 37 was designed by C. Raymond Hunt Associates. The center-cockpit is a bit unusual but some prefer it. The cruising fin keel and skeg-mounted rudder are well suited to shallow-water cruising, and the generous beam provides good form stability. The hull is solid fiberglass, and the deck is cored with balsa. Owners report it is well balanced and forgiving. Early 1980s models are on the market for less than $40,000.

Built in Holland, Mich., the S2 sailboat line emerged in 1973 when owner Leon Slikkers sold his powerboat company, Slickcraft, to AMF and had to sign a no-compete agreement. The 11.0 was the largest model, introduced in 1977. The designer was Arthur Edmunds, who also drew the Allied Princess 36, though the two are very different. Edmunds resisted some of the bumps and bulges indicative of the International Offshore Rule (IOR), but still gave the 11.0 fine ends, and a large foretriangle. Two accommodation plans were offered: an aft cockpit with conventional layout of V-berth, saloon, and quarter berth and galley flanking the companionway; and an unusual center-cockpit layout with V-berth forward immediately followed by opposing settees, and then galley and head more or less under the cockpit. The master suite is in the aft cabin, of course. The hull is solid fiberglass and includes the molded keel cavity for internal ballast; the deck is balsa-cored. Overall construction quality is rated above average. Prices range from about $30,000 to $50,000.

NIAGARA 35: a handsome cruiser with Hinterhoeller quality.

Austria-born George Hinterhoeller emigrated to Canada in the 1950s and began doing what he did all his life: build boats, first out of wood, then fiberglass composites. He was one of four partners who formed C&C Yachts in 1969. He left in 1975 to again form his own company, Hinterhoeller Yachts. The company built two distinct model lines: the better known Nonsuch line of cruising boats with unstayed catboat rigs, and the Niagara line. About 300 Niagara 35s were built between 1978 and 1995.

Canadian naval architect Mark Ellis designed the Niagara 35 as well as all of the Nonsuch models. He gave the 35 a beautiful, classic sheer with generous freeboard in the bow, swooping aft to a low point roughly at the forward end of the cockpit, and then rising slightly to the stern. The classic influence also is seen in the relatively long overhangs; todays trend is to lengthen the waterline as much as possible, with near plumb bows, discounting the old belief that overhangs were necessary for reserve buoyancy. So the Niagara 35 has a somewhat shorter waterline than the others in our group of nine, but as the hull heels, the overhangs immerse and sailing length increases. The short waterline also accounts for the 35s moderately high displacement/length ratio of 329. There is a direct correlation between the D/L and volume in the hull, and for a cruising boat, there must be sufficient space for tanks and provisions. Unfortunately, tankage in the 35 isn’t that much: 80 gallons water, 30 gallons diesel fuel, and 25 gallons holding tank.

The cruising fin keel is long enough for the boat to dry out on its own bottom should the need arise, like drying out against a seawall in Bali to paint the bottom. (Sorry-just dreaming!) The spade rudder seems a little unusual for a cruiser. When asked about it, Ellis said that it provides superior control to a skeg-mounted rudder, and that skegs, which are supposed to protect the rudder, often aren’t built strong enough to do the job. Circumnavigator and designer/builder/developer Steve Dashew agrees that offshore, in nasty conditions, spade rudders are the way to go.

Construction

George Hinterhoeller and his associates at C&C Yachts were early advocates of balsa-cored hull construction, because it reduces weight, increases panel stiffness, and lowers costs. The worry, of course, is delamination of the core to the inner and outer skins should water penetrate through to the core. This is why quality builders remove balsa coring wherever through-hulls or bolts pass through the hull or deck, and fill the area with a mix of resin and reinforcements. Hinterhoeller was such a builder, but core integrity still deserves close inspection during a pre-purchase survey.

All bulkheads are tabbed to the hull and deck with strips of fiberglass, and this is an important detail for an offshore boat. Many mass-produced boats have molded fiberglass headliners that prevent tabbing bulkheads to the deck; rather, the bulkheads simply fit into molded channels in the headliner, which do not prevent them from moving slightly as the boat flexes in waves.

Hardware quality is good. One owner described the chocks and cleats on his Niagara as “massive.” Hatches are Atkins & Hoyle cast aluminum, which are about as good as you can buy. And the original rigging was Navtec rod. Owners report no structural problems.

Performance

With its moderately heavy displacement, conservative sailplan, and relatively large keel, the Niagara 35 is not a speed demon, and does not point as high as a boat with a deep, narrow fin keel. But thats not what were after here. The 35s specs are just about what we want for a versatile cruising boat. Owners say performance picks up quickly as the breeze fills in. If the sailplan were larger, for improved light-air performance, youd have to reef sooner, and reefing is work.

The long keel has another advantage, and that is improved directional stability over shorter keels, which means less effort at the helm. We tend to think that a powerful below-deck autopilot can steer any boat, but autopilots struggle, too. A boat thats easy for the crew to hand steer also is easy for the autopilot to maintain course.

A lot of Niagara 35s were equipped with Volvo saildrives rather than conventional inboard diesel engines. Advantages of the saildrive: improved handling in reverse and lower cost. Disadvantages: potential corrosion of aluminum housing and not as much power. Various inboard diesels were fitted: Westerbeke 27-, 33-, and 40-horsepower models, and a Universal M35D, all with V-drives. Owners rate access somewhat difficult.

Accommodations

Two interior layouts were offered: the Classic, in which the forepeak has a workbench, shelves, seat, and stowage instead of the usual V-berth; and the Encore, which has an offset double berth forward, and quarter berth and U-shaped galley aft. The saloon in the Classic, with settees and dining table, is farther forward than usual; the head and owners stateroom, with single and double berths, is aft. Both plans have their fans.

Headroom is 6 feet, 4 inches in the main cabin and 6 feet, 2 inches in the aft cabin. Berths are 6 feet, 7 inches long; a few owners say berth widths are a bit tight. A couple of thoughts on the double berths offered in these two plans: V-berths are subject to a lot of motion underway and so do not make great sea berths, but at anchor, ventilation via the forward hatch makes them far more comfortable than a stuffy aft cabin, where its much more difficult to introduce air flow. Offset double berths do not waste outboard space like V-berths do, but the person sleeping outboard must crawl over his/her partner to get out of bed.

Thirty-year-old boats should be surveyed thoroughly. Nothing lasts forever, but boats well maintained last a lot longer. Pay particular attention to the balsa-cored hull and deck. If either has large areas of delamination, give the boat a pass, because the cost to repair could exceed the value of the boat.

A few owners expressed concern about the boats handling off the wind, which surprises us somewhat. A test sail in lively conditions should answer that question.

We much prefer the inboard. If you prefer the saildrive, look for signs of corrosion and get a repair estimate.

Niagara 35 Conclusion

The Niagara 35 is a handsome, classically proportioned cruising sloop from one of the best builders of production boats in North America. It is not considered big enough these days to be a circumnavigator, but certainly large enough for a couple to leisurely cruise the Bahamas, Caribbean Sea, and South Pacific. We found asking prices ranging from around $54,000 to $89,000, with most in the $60,000 range.

C&C LANDFALL 38

As noted, George Hinterhoeller was one of four partners who formed C&C Yachts in 1969, at Niagara-on-the-Lake, Ontario. The others were Belleville Marine, Bruckmann Manufacturing, and the design firm of George Cuthbertson and George Cassian. From the beginning, the emphasis was on performance. Indeed, the 40-foot Red Jacket won the 1968 Southern Ocean Racing Circuit (SORC).

In 1973, Cuthbertson retired to his Ontario farm, citing burn-out. Eight months later, he was back as president of C&C Yachts, telling staff that they ought to pursue more multi-purpose racer/cruiser models. C&C became the dominant boatbuilder in North America, with models ranging from the C&C 24 to the C&C 46, with models just about every 2 feet in between. The Landfall cruiser series was introduced in 1977, with the Landfall 42. It was followed by the Landfall 35, 38, and 48. Production of the 38 ran from 1977 to 1985, with about 180 built.

The C&C Landfall 38 is directly related to the earlier C&C 38. We wrote in our original 1983 review that the older hull design was “…modified with slightly fuller sections forward, a slightly raked transom rather than an IOR reversed transom, a longer, shoaler keel, and a longer deckhouse for increased interior volume.” The spade rudder is not everyones first choice on a serious cruising boat, but it does provide superior control. And the Landfalls have a higher degree of finish inside, along with layouts more suited to family cruising.

The Landfalls perform very well, thanks to lightweight construction and speedy hull forms. The Landfall 38s displacement/length ratio of 272 is the lowest of the three compared in this review.

Notable drawbacks: a V-berth that becomes quite narrow forward, and as noted in the 1983 review, “a hull that rises so quickly aft that C&Cs normal gas bottle stowage at the end of the cockpit is eliminated.” This on a cruising boat no less, where a hot meal is often the highlight.

Like nearly all the C&C designs, the Landfall 38 is attractively proportioned with sleek lines and a modern look, even several decades later. It appears most dated in the raked bow, but this better suits the anchoring duties on a cruising boat anyway.

Materials and building processes used in C&C Yachts are very similar to those of the Niagara 35, namely because of Hinterhoeller. Practices he established at C&C continued after he left, at least for the short-term. So what we said about the Niagara 35s balsa-core construction also applies to the Landfall 38, where it is found in the hull, deck, and cabintop.

The hull-deck joint is through-bolted on 6-inch centers, through the teak toerail, which gaves the Landfall series a more traditional look than the distinctive L-shaped anodized aluminum toerail Cuthbertson designed and employed on the rest of the C&C models. The joint is bedded with a butyl tape, which does a good job of keeping out water, but doesn’t have the adhesive properties of, say, 3M 5200. On the other hand, if you ever had to remove the deck-heaven forbid!-it would be a lot easier.

Deck hardware is through-bolted with backing plates or large washers, although some of the fasteners come through on the underside, where the core transitions into the core-less flange. We also saw this on our old 1975 C&C 33 test boat. It means two things: water migrating down the fastener after the bedding fails can contact a little bit of balsa, and uneven stresses are placed on the fastener, which above deck can cause gelcoat cracks.

Proper bronze seacocks protect the through-hulls, and hoses are double-clamped for added security. The mast butt is not deep in the bilge where it can corrode in bilge water, but rests on two floor timbers in the sump, above any water that would typically collect.

The external lead-ballast keel is bolted through the keel sump in the hull. Its run is flat, and the boat can sit on its keel, allowing it be careened against a seawall for bottom painting, prop repairs, or other work in locales where boatyards are rare.

In our earlier review, we noted that the engine compartment has no sound insulation, despite its proximity to the owners berth, but gluing in some lead-lined foam is within the capability of most owners.

Despite being 2,000 pounds heavier than the C&C 38, the Landfall 38 is still a quick boat. Its old PHRF rating of 120 is just a little higher than the Cal 39 at 114, and less than the Tartan 37 we’ll look at next.

The mast is a little shorter than that of the C&C 38, but as with most boats of the IOR era, the Landfall 38 has a large foretriangle of 385 square feet. A 150-percent genoa measures 580 square feet, which is a handful for older crew. Roller furling with maybe a 135 percent genoa would be a logical way to minimize the effort required to tack this boat.

Strangely, the Landfall 38 did not come standard with self-tailing winches; a highly recommended upgrade. The main halyard, Cunningham, and reefing lines are led aft to the cockpit, while the headsail halyards run to winches on deck near the mast.

The boat is stiff and well balanced. Owners like the way it handles and appreciate its speed.

The standard engine was a 30-hp Yanmar diesel. The early Yanmar Q series had a reputation for being noisy and vibrating a lot. At some point, C&C began installing the Yanmar 3HM which replaced the 3QM. Power is adequate. The standard prop was a solid two-blade. Engine access leaves a lot to be desired.

The interior is pushed well into the ends of the boat to achieve a legitimate three-cabin accommodation plan. The standard layout was a V-berth forward with cedar-lined hanging locker. The berth narrows quickly forward so that tall people might not find enough foot room. Moving aft, there is a dinette and settees in the saloon, U-shaped galley and large head with shower amidships, and a double berth in the port quarter, opposite a navigation station. In rainy or wild weather, youll want to close the companionway hatch and keep weather boards in place so that water doesn’t spill into the nav station. Installing Plexiglas screens on either side of the ladder will help.

Oddly, there is no place to install fixed-mount instruments outboard of the nav table; that space is given to a hanging locker, but could be modified. Other than this, about the only other shortcoming is that the toilet is positioned so far under the side deck that persons of average size cannot sit upright. And, the head door is louvered, which compromises privacy.

There is not a lot to complain about with the Landfall 38 that we havent already said: the V-berth forward is tight, theres no sitting upright on the toilet, theres no place to install electronics at the nav station, and the nav station and aft berth invite a good soaking through the companionway.

Construction is above average, but have a surveyor sound the hull and decks for signs that the fiberglass skins have delaminated from the balsa core. Small areas can be repaired, but our advice is not to buy a boat with widespread delamination.

Landfall 38 Conclusion

The Landfall 38 is an excellent family boat and coastal cruiser. Its popularity in the Great Lakes region is not surprising. Island hopping to the Caribbean is also within reach, but any longer cruises will likely require more tank capacity and stowage. Standard tankage is 104 gallons water and 32 gallons of fuel. Prices range from around $55,000 to $65,000.

TARTAN 37: shoal draft and S&S styling.

In the early years of fiberglass boat construction, the major builders-Columbia, Cal, Morgan, Tartan, and others-commissioned well-known naval architects to design their models. Today, this work is more often done by a no-name in-house team over which the company has more control. Tartan Yachts of Grand River, Ohio, relied almost exclusively on the prestigious New York firm of Sparkman & Stephens; they’d drawn the Tartan 27 for the company’s antecedent, Douglass & McLeod, and were called on again to design the Tartan 37, which had a very successful production run from 1976 to 1988.

The Tartan 37 has the modern, clean, strong lines that typified S&S designs. The bow is raked, and the angle of the reverse transom is in line with the backstay-an easily missed detail that nevertheless affects the viewers impression of the boat. Freeboard is moderate and the sheer is gentle. In an early review, we wrote: “Underwater, the boat has a fairly long, low-aspect ratio fin keel, and a high-aspect ratio rudder faired into the hull with a substantial skeg.” In addition to the deep fin keel, a keel/centerboard also was offered. A distinctive feature is how the cockpit coamings fair into the cabin trunk. Its displacement/length ratio of 299 and sail area/displacement ratio of 16.1 rank it in the middle of the 9-model group (see table, page 9), so while it looks racy, its not going to smoke the other nine.

From its beginning, Tartan Yachts set out to build boats of above average quality, and this can be seen in both the finish and fiberglass work. Some unidirectional rovings were incorporated in the hull laminate to better carry loads; like the vast majority of boats of this era, the resin was polyester. Vinylester skin coats, which better prevent osmotic blistering, had yet to appear. Some printthrough is noticeable, more on dark-color hulls. The hull and deck are cored with end-grain balsa, which brings with it our usual warnings about possible delamination. The hull-deck joint is bolted through the toerail and bedded in butyl and polysulfide. Taping of bulkheads to the hull is neatly executed with no raw fiberglass edges visible anywhere in the interior. Seacocks have proper bronze ball valves. One owner advises checking the complex stainless-steel chainplate/tie rod assembly, especially if its a saltwater boat.

Shortcomings: Pulpit fasteners lack backing plates. Scuppers and bilge pump outlets have no shutoffs.

Under sail, the Tartan 37 balances and tracks well. As noted earlier, its not a fireburner, but not a slug either. Its no longer widely raced, but the few participating in PHRF races around the country have handicaps ranging from 135-177 seconds per mile. The Niagara 35 now rates 150-165, and the C&C 38 126-138.

The deep fin-keel version points a little higher than the keel/centerboard because it has more lift, however, the deep draft of 6 feet, 7 inches is a liability for coastal cruising.

Because of the large foretriangle and relatively small mainsail, tacking a genoa requires larger winches and more muscle than if the relative areas of the two were reversed. For relaxed sailing, jiffy reefing of the main and a roller-furling headsail take the pain out of sail handling.

The 41-horsepower Westerbeke 50 diesel provides ample power. Standard prop was a 16-inch two blade. A folding or feathering propeller reduces drag, thereby improving speed. Access to the front of the engine, behind the companionway ladder, is good. Unfortunately, the oil dipstick is aft, requiring one to climb into the starboard cockpit locker-after you’ve removed all the gear stowed there.

The layout below is straightforward with few innovations: large V-berth forward with hanging locker and drawers; head with sink and shower; saloon with drop-down table, settee, and pilot berth; U-shaped galley to starboard; and to port, a quarterberth that can be set up as a double. To work at the navigation station one sits on the end of the quarterberth. This plan will sleep more crew than most owners will want on board, but its nice to have the option. Pilot berths make good sea berths but often fill with gear that can’t easily be stowed elsewhere.

The fold-down table, like most of its ilk, is flimsy. Underway, tables should be strong enough to grab and hold on to without fear of damaging it or falling-thats not the case here. And the cabin sole is easily marred trying to get the pins in the legs to fit into holes in the sole.

Finish work in teak is excellent, though this traditional choice of wood makes for a somewhat dark interior. Today, builders have worked up the nerve to select lighter species such as ash and maple.

Eight opening portlights, four ventilators, and three hatches provide very good ventilation.

The standard stove was alcohol, which few people want anymore, owing to low BTU content (which means it takes longer to boil water), the difficulty in lighting, and almost invisible flame. Propane is a better choice, but there is no built-in stowage on deck for the tank, which must be in a locker sealed off from the interior and vented overboard. (You could mount the tank exposed on deck, but that would not complement the boats handsome lines.)

Theres not much to pick at here, but we’ll try. Centerboards come with their own peculiar set of problems: slapping in the trunk while at anchor, broken pendants and pivot pins, and fouling in the trunk that inhibits operation.

Often what sets apart higher-quality boats from the rest of the fleet is the cost of materials and labor in making up the wood interior. They look better than bare fiberglass, work better because they have more drawers and stowage options, and are warmer and quieter. The unnoticed flip side is that the joinerwork tends to hide problems, like the source of a leak. When all the fasteners are neatly bunged and varnished, it takes courage to start pulling apart the interior!

Checking engine oil is unnecessarily difficult, and to operate emergency steering gear (a tiller) the lazarette hatch must be held open, which could be dangerous. Lastly, the companionway sill is low for offshore sailing; stronger drop boards would help compensate.

Tartan 37 Conclusion

The enthusiasm for this boat is strong. In fact, theres a whole book written about it, put together with the help of the Tartan 37 Sailing Association (link below). You’ll pay in the mid- to high-$60s, which ranks it with the Niagara 35 and Freedom 36 as the most expensive of our nine. While Tartan 37s have made impressive voyages, and are as capable as the Niagara 35 and C&C Landfall 38, like them, its not really a blue-water design. We view it rather as a smart coastal cruiser and club racer. Good design and above-average construction give it extra long life on the used-boat market.

Classic Cruisers For Less Than $75,000

Niagara 35 Sailnet Forum

C&C Photo Album

Tartan Owners

Tartan 37 Sailing Association

RELATED ARTICLES MORE FROM AUTHOR

27 comments.

Great article, but why did you leave out your namesake build – Camper Nicholsons Nicholson 35. Very similar to the Niagara 35, except that it trades the (less than useful – my opinion) quarter berths for two GIGANTIC cockpit lockers. And I find the transverse head on the Nic a civilized alternative to telephone booth head/shower combinations.

While the Nic claims 6 berths, you’ll never find that many on ours. Cocktails for 6, dinner for 4, sleeps 2 is our mantra

This is great information and a good guideline to go by. Thanks for the heads up on theses vessels.

Every time Practical Sailor does a review of boats in the 35- to 38-footers built between 1978 and 1984, they always leave out the Perry designed Islander Freeport 36 and 38. Many people are still cruising in these great boats, and among Islander Yachts designs this one is a wonderful cruiser.

I was also sad to see that. We sail a ’79 I-36, and it is stiff, fast, forgiving, and a very comfortable cruising platform. While many of the 800+ built are ready for the wrecking ball, there are some excellent, well cared for boats available. They are lovely sailors.

Couldn’t agree more, with Islander Freeport 36 & 38 raised coachroof that opens up all sort of possibilities and transom based swim ladder, her utility is unmatched.

These are all nice boats. I have sailed most of them. I owned a Tartan 37 for 4 yrs. As A US Sailing Cruising instructor, I have sailed and cruised hundreds of boat. This is one of the best balanced and behaved boats that I have sailed. She will sail on jib alone with no lee helm and sail main alone with minimal weather helm. Few boats will do this. She tracks quite well in a seaway. There are only 2 instances that you need to put the centerboard down: clawing off a lee shore or racing upwind. Otherwise she is just fine with board up. I have not had problems with the board slapping in a rolley anchorage. I keep the board up tight all the way and no problem. And my boat a 1983 had a built in propane vented locker. Also my dipstick was forward port and easy to reach, but not so for the filter so I remote mounted it forward. S & S did a great job on this design. And a 4 foot draft is wonderful and special feature for a boat that sails so well.

Surprising that the author did not address the obvious question, “if you had to pick one of these for a bluewater cruise, which one would it be?”

I too would appreciate the author’s response to this question.

Every time I star liking one of these I see the word ‘balsa’

Why did you not look at the Catalina 36. They are sea kindly; easy to repair and get parts; there’s a lot of them; and newer ones are in the price range you are talking about.i.e. my 2002, well fitted, is $72500.

Good article, thanks.

Pearson 365 conspicuously missing from this list.

Excellent article with factors that almost all of us who own vintage older cruising sailboats have considered at one time or another. However, when making my choice and before putting my money down, I also included PHRF as a factor. Without degenerating into a large discussion of pros and cons of PHRF (or any other indexes of performance), I think that you should consider performance in the equation. While livability is important (and I am a comfort creature), the ability to run away from a storm or handle tough conditions, is also important, you don even mention it. Paraphrasing Bill Lee, “faster is fun”. After weighing all of the factors discussed above, and adding considerations for performance, I purchased a 1984 Doug Peterson designed Islander 40 for $65,000 and am still in love with the boat 15 yrs later. It still is a “better boat than I am a sailor” and is also very comfortable. The only drawback is that it draws 7’6″ which in SF Bay, is not a problem. On the “right coast” that might be a problem, but on the “correct coast” it has not been.

Hate to be picky but you left out of this old list a high quality design and blue water capable cruiser designed and made by quality Canadian company–Canadian Sailcraft, namely CS 36 T. A Sailboat 36.5 feet with all the necessary design and sailing numbers needed to be attractive , safe, and fast.

No one likes to see their favorite boat left off a list like this, but it must be done. But my Ericson 38 has almost none of the cons of the boats in this article, and most of the desireable pros. After 13 years of ownership, it hasn’t even hinted at breaking my heart. Great design pedigree, glassed hull/deck joint, ahead of its time structural grid, points high, extremely liveable interior, and the list goes on…so much so that I’m glad I didn’t buy ANY of the boats in the article instead.

Missing are the CSY 37 and 44. Ernest M Kraus sv Magic Kingdom CSY 44 walkover cutter

Very useful article. Thanks! I’d love to see the same framework for a selection of length 40′-50’ft coastal cruisers.

I know that it is hard to include all boats, but you missed a boat that fills all the requirements. I’m speaking about the Bob Perry designed and Mirage built 35. It has all the capabilities and handling characteristics that you would want in a capable cruiser and the speed of a steady over-performing racer-cruiser. It has 6’5″ headroom and all the standard features that are a must in a strong well built beauty with 5 foot draft, light but rigid and strong. Great for the Chesapeake bay or other depth challenging bodies of water.

Great publication through the year’s. Still miss my print version to read on rainy day. Owned a Cal 27 T-2 and Irwin Citation over the years. Sailed on the Chesapeake. The Irwin ended up in Canada. JA

We have a Swallow Craft Swift 33. The boat was made in Pusan Korea in 1980. For a 33′ boat it is cavernous. We live aboard 1/2 the year. I thought it might be a boat you would be interested in looking at. I call it a mini super cruiser.

How about the Pearson 367?

Surely this is a joke. I’ll put the Nonsuch 30 Ultra against anyone.

Good article, but another vote for the CS36T. No better value for an offshore capable, fast cruiser and built to last.

Great article

The list looks familiar to the list I was working with back around 2004. Back then the prices were even higher of course. To fit my budget, I got a great boat… Freedom 32. That is a Hoyt design from TCI. All I really gave up was some waterline. Below deck, the boat is as roomy as many 35-36 footers due to the beam. I find it to be a great boat for me. I do not see a move up to the sizes on this list to improve my lot. I could be tempted by a Freedom sloop over 44′ but that is retirement noise.

which edition of month/year of the PS Magazine is this covered in please, it would be great to know?

A great article, but what about the Young Sun 35 Cutter! a great offshore boat that I have sailed single handed from Canada to Hawaii and back, single handed, in rough conditions, but which was an incredible 30 days each way. Overall 40 ft. and 11 ft. beam. I believe also built by Bob Perry!

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Critic’s Notebook

At Carnegie Hall, the New Pianists Are Young and Younger

Jan Lisiecki, 28, is the elder statesman alongside Alexander Malofeev and Yunchan Lim in a trio of recent recital debuts at the hall.

By Zachary Woolfe

At 28, Jan Lisiecki can certainly be called a young musician. But of the pianists making recital debuts at Carnegie Hall recently, he’s something of an elder statesman.

Last month, Yunchan Lim , then still in his teens, confidently pressed through the challenges of Chopin’s études. And on Tuesday, Alexander Malofeev, 22, was an unruffled guide through the richness of Russian late Romanticism and its afterglow.

Both Lim and Malofeev were appearing at Carnegie for the first time, but Lisiecki has been an occasional presence with orchestras there since 2016 . While the main hall’s scale can be daunting for a solo recitalist, with almost 3,000 people watching, on March 13 he seemed calmly at home from the start.

The second half of Lisiecki’s program was given over to Chopin’s 24 Preludes (Op. 28), while before intermission came an assortment of other short pieces in that genre: a kind of prelude made of preludes. This was a canny mixture of chestnuts and rarities. Lisiecki combined the easily recognizable likes of Bach’s Prelude in C (the opening of “The Well-Tempered Clavier”) and Rachmaninoff’s in C sharp minor (Op. 3, No. 2) with much less common selections from sets of preludes by Szymanowski, Messiaen and Gorecki.

Lisiecki plays with gentle judiciousness, aristocratic reserve and a touch that tends shadowy without losing a core of clarity. He clearly relishes soft playing, with sensitive effects of distant bells and moonlit drizzles in Messiaen’s “La Colombe” and “Le Nombre Léger,” and a murmured sotto voce in Chopin’s Op. 28, No. 15.

His recordings of Chopin’s études and nocturnes offer lovely, generally introverted, smoothed, even sleepy takes on those works. But in an interview when the nocturnes were released, Lisiecki said that the album’s slow tempos wouldn’t work in concert.

And in person, he came across as a livelier musician than he does on record, gunning the vivace that Chopin indicates for the third Op. 28 Prelude into something closer to vivacissimo, and gamely rising to the pounding storms of Gorecki and Rachmaninoff.

But it is in poetic wistfulness that Lisiecki shines. The highlight of the program was Chopin’s Prelude in C sharp minor (Op. 45), written a few years after the Op. 28 set and here refined and eloquent, with Lisiecki’s rubato giving the pulse an understated ebb and flow, for a portrait of quiet, lonely searching.

Unlike Lisiecki and Lim, Malofeev played in Carnegie’s smaller Zankel Hall. This was a smart way to introduce him to a New York audience, especially since he doesn’t yet have the backing of a major record label. (Those other pianists are both Decca artists.)

Born in Moscow and based in Berlin, Malofeev came to prominence for not performing. Just after the Russian invasion of Ukraine two years ago, a presenter in Vancouver canceled his appearance, and the Montreal Symphony Orchestra followed suit, even after Malofeev — who lacked any ties to the conflict to begin with — had released a statement calling the invasion a “terrible and bloody decision.”

His career doesn’t seem to have been derailed by the episode — happily, since he is an admirable artist. Like Lisiecki, he offered a mix of the familiar and not. Alongside Rachmaninoff favorites in the second half of his concert, he included works that had never been played at Carnegie: Scriabin’s Two Impromptus (Op. 12) and Medtner’s “Sonata-Reminiscenza” in A minor.

The opening of a cycle called “Forgotten Melodies,” the Medtner was a treat, a fantasia on nostalgia in which a memory of childlike songfulness is passed through 14 minutes of varied colors and textures. In other hands, the piece might have expanded to more grandeur, but Malofeev kept it beautifully intimate.

The textures were more roiled than rich in the first piece on the program, Samuil Feinberg’s transcription of Bach’s Organ Concerto in A minor (BWV 593). But Malofeev’s Scriabin — those impromptus, as well as the Prelude and Nocturne for the Left Hand (Op. 9) — was relaxed and suave.

He excels in Rachmaninoff, with considerable power yet a light, even witty touch. The Sonata No. 2 in B flat minor (in its revised, condensed version) was flexible but didn’t lose a sense of structure and intention. The faintest pinprick of a high note near the end of the first movement; the subtle gracefulness of a late melody in the second; the balance of sternness and glitter in the finale — all was impressively assured.

He and Lisiecki both played Rachmaninoff’s Op. 3, No. 2 prelude, but were intriguingly distinct in it. Lisiecki made the piece gravely granitic, while Malofeev rendered it more offhand and dreamlike.

In a good way, though, these two pianists are more alike than different, both with a style that’s fundamentally calm and modest, never showy even at their most virtuosic.

Zachary Woolfe is the classical music critic of The Times. More about Zachary Woolfe

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On ‘Quiet on Set,’ former Nickelodeon actors, writers recall bad behavior backstage

Solid docuseries details abuse and upsetting actions the young talents endured while making tv shows for kids..

Giovonne Samuels (from left), Shane Lyons, Bryan Hearne and Lisa Renee Foiles appear on “All That” in 2002. Samuels and Hearne speak out on “Quiet on Set” about their unsettling experiences on the show.

JEAN-MARC BOUJU/AP

Millions of Americans of a certain age no doubt have fond childhood memories of watching Nickelodeon programming such as “The Amanda Show,” “All That,” “Sam & Cat" and “Drake & Josh” — comedy and sketch programs that were created for kids and tweens, starring kids and tweens, and often featured silly, outlandish, slapstick humor.

At the time, virtually nobody on the outside raised any objections about certain scenes that had clearly sexualized overtones. Nor did we know about the allegedly unacceptable behavior behind the scenes, most notably on the part of Dan Schneider, the actor-turned-producer who was the primary creative force on a dozen popular Nickelodeon shows.

In recent years, certain clips have been re-examined, for example of a young Ariana Grande on “Victorious,” saying, “Is it possible for a teenage girl to drink water upside down?” and then proceeding to douse herself with a water bottle while upside-down in bed.

We’ve also heard stories of a toxic workplace environment from “iCarly” star Jennette McCurdy in her memoir and in a Business Insider article in which former actors and staff members on Nickelodeon shows described traumatizing experiences on sets.

Now comes the four-part Investigation Discovery documentary series “Quiet on Set: The Dark Side of Kids TV,” which expands on Business Insider’s reporting and delivers a journalistically solid, straightforward and at times heartbreaking expose, with a number of former actors and behind-the-scenes personnel telling their stories. Directed by Mary Robertson and Emma Schwartz, “Quiet on Set” will have you thinking about all those wildly popular children’s TV shows in a whole different light.

Relying on archival clips, a bounty of behind-the-scenes video footage and present-day interviews with former cast members, parents and journalists, “Quiet on Set” follows a mostly chronological timeline, reminding us that, in the 1990s, there was no Internet for consumers, no TikTok, no viral videos. If you were a kid, it was pretty much the Disney Channel or Nickelodeon.

Writer-producer Dan Schneider speaks at a Nickelodeon premiere in 2011.

Michael Buckner/Getty Images

Schneider, who was best known at the time for starring on the ABC sitcom “Head of the Class,” segued into writing and producing, penning the pilot for “All That” in 1994 and quickly demonstrating a keen acumen for finding young talent while playing a major part in the creation of “Drake & Josh,” “Kenan & Kal,” “The Amanda Show,” “Victorious,” “What I Like About You” and “Zoey 101,” among others.

Schneider was recognized as the most powerful presence at Nickelodeon — and, according to former staffers and actors, often abused that status, telling off-color jokes on set and in writers’ rooms, consistently demanding that makeup artists and others give him massages and overseeing shows with sometimes questionable elements, for example giving a character on “The Amanda Show” a last name that referenced a certain part of the anatomy.

Jenny Kilgen, a writer on "The Amanda Show," talks of Schneider telling her in front of group of her peers, out of the blue, “Didn’t you used to do phone sex?” (Kilgen eventually sued Schneider’s production company for gender discrimination, settling for an undisclosed amount.) Another writer there, Christy Stratton, tells of Schneider cajoling her into humiliating actions, including having her simulate being sodomized in the writers’ room.

Former child actors Katrina Johnson, Kyle Sullivan, Giovonnie Samuels and Alexa Nikolas share sobering insights and memories. Bryan Hearne recalls being traumatized by a stunt in which he was covered by peanut butter that was licked off his body by dogs.

More than two decades after his stint on “All That,” Bryan Hearne discusses his sobering experiences on the show during a “Quiet on Set” interview.

Investigation Discovery

In Episode 3, titled “The Darkest Secret,” Drake Bell goes public for the first time and tells of actor and dialogue coach Brian Peck assaulting him on numerous occasions when Bell was 15.

“It just became this secret that I held onto,” says Bell. “It just got worse and worse and worse. … I was just trapped, and there was no way out.”

At Peck’s trial, Bell says Peck’s side of the courtroom was filled with supporters, while on his side, it was “me, my mom and my brother.” In 2004, Peck pleaded no contest to two charges of sexual abuse of a minor and was sentenced to 16 months in prison.

Drake Bell attends a Hollywood party in 2004, the year his dialogue coach pleaded no contest to charges of sexually abusing him.

Frazer Harrison/Getty Images

In March 2018, Nickelodeon reportedly severed ties with Schneider after an internal investigation found evidence of Schneider verbally abusing colleagues. Three years later, in an interview with The New York Times, Schneider denied that he exited Nickelodeon under cloudy circumstances, said the comedy on his shows “was totally innocent” and denied acting inappropriately with colleagues.

Everyone has their truth, as the modern saying goes. Watching “Quiet on Set,” there’s little doubt that, for many of the interview subjects who worked on those beloved shows, the truth is their experiences ranged from a mixed bag to unpleasant to awful to unspeakably horrific.

Humanitarian aid ship completes first food delivery to Gaza by sea

A humanitarian aid ship has completed the first aid delivery by sea to Gaza via a new maritime corridor, unloading 200 tons of food and water to the besieged enclave, the nonprofit World Central Kitchen said Saturday. A second aid ship is preparing to sail from Cyprus, the group said.

“All cargo was offloaded and is being readied for distribution in Gaza,” World Central Kitchen said in a statement.

The second aid ship contained “pallets of canned goods and bulk product — including beans, carrots, canned tuna, chickpeas, canned corn, parboiled rice, flour, oil and salt.” It also included 120 kilograms of fresh dates — commonly eaten to break fasts during the Islamic month of Ramadan.

The maritime mission dubbed “Operation Safeena,” meaning ship in Arabic, was dispatched by World Central Kitchen, a U.S. nonprofit founded by chef José Andrés , and the Spanish search-and-rescue group Open Arms this week. The Israel Defense Forces has previously said that the food aid would be transferred to trucks operated by the nonprofit, which would “distribute them to northern Gaza.”

U.N. officials have warned that Gaza is on the brink of famine, with the situation particularly dire in the north. On Friday, UNICEF warned that almost 1 in 3 children under age 2 in northern Gaza were suffering from acute malnutrition, up from 15.6 percent in January, based on nutrition screenings it and partners had conducted. At least 27 people, mostly children , have died of malnutrition or dehydration in recent weeks, according to the Gaza Health Ministry.

Aid deliveries to Gaza have become increasingly precarious, with the number of aid trucks plummeting; humanitarian officials say Israel has limited land entry points and targeted civilian police responsible for protecting the convoys. Countries, including the United States, have taken to air dropping aid — a costly and dangerous procedure — while President Biden has announced plans for the U.S. military to construct a floating pier off Gaza’s coast — something that could take up to 60 days to construct.

World Central Kitchen said that Saturday’s aid was offloaded via a jetty the group built on the coast of Gaza and that the second ship could carry two forklifts and a crane to assist with future maritime deliveries. It said it had no information yet on when the second boat, which will carry 240 tons of food aid, might set sail.

Here’s what else to know

Israel said Friday that it will send a delegation to Qatar to continue negotiations for the release of Hamas-held hostages in exchange for Palestinian prisoners in Israel . The move comes on the heels of the latest cease-fire proposal put forward by Hamas, which Israel has accused of making “unrealistic demands.” National Security Council spokesman John Kirby said Friday that the Hamas proposal was “in broad brushstrokes, within the bounds of the deal that we’ve been working on now for several months.”

Biden praised a recent speech by Senate Majority Leader Charles E. Schumer (D-N.Y.) that criticized Netanyahu’s government and called for Israel to hold a new election. Biden described it as “a good speech” that “expressed a serious concern shared not only by [Schumer] but by many Americans.” Israeli officials criticized Schumer’s remarks, with Israel’s ambassador to the United States calling it “counterproductive to our common goals.”

Israeli Prime Minister Benjamin Netanyahu has approved plans for a military operation in Rafah, his office said Friday . The statement did not provide additional details about the offensive, which is opposed by several world leaders and humanitarian organizations, who say it could be devastating for the more than 1.4 million Palestinians estimated to be seeking refuge in the city. Secretary of State Antony Blinken told reporters in Vienna on Friday that the Biden administration had not seen a plan from Israel detailing how it would protect civilians if the military moves into the densely populated city.

At least 20 people were killed and more than 150 were injured late Thursday while awaiting aid in northern Gaza, in what Palestinian officials in the enclave said was an Israeli attack. Witnesses interviewed by The Washington Post said they saw an Israeli helicopter and drones randomly firing on Palestinians. The Israeli military denied responsibility for the killings and late Friday released edited footage of what it said showed “Palestinian gunmen opening fire in the midst of Gazan civilians.” The accounts from witnesses and the IDF could not be independently corroborated.

More than a dozen authors have dropped out of a PEN America festival, citing the literary nonprofit’s inaction over the war in Gaza . Naomi Klein, Hisham Matar and Maaza Mengiste are among the writers who have said they will not be participating in the annual PEN World Voices Festival this year, criticizing the organization for failing to call “for an immediate and unconditional cease-fire.” The nonprofit has said on its website that it has “done considerable work in response to the war. Some has been public, and some has been behind the scenes to protect the imperiled artists and writers we are assisting.”

At least 31,553 people have been killed and 73,546 injured in Gaza since the war began, according to the Gaza Health Ministry , which does not distinguish between civilians and combatants. Israel estimates that about 1,200 people were killed in Hamas’s Oct. 7 attack and says 249 soldiers have been killed since the start of its military operation in Gaza.

A previous version of this article misstated which ship World Central Kitchen referred to in a statement on food aid. The statement said canned goods, bulk products and fresh dates were on the second aid ship as it prepared for launch. The article has been corrected.

Israel-Gaza war

Israel-Gaza war: Secretary of State Antony Blinken is set to make a quick stop in Israel as tensions are rising between the United States and Israel over Israeli Prime Minister Benjamin Netanyahu’s plans to invade Rafah . The Israeli military said Wednesday that it was continuing its raid on al-Shifa Hospital in Gaza City, where people said they were trapped in dire conditions.

Middle East conflict: Tensions in the region continue to rise. As Israeli troops aim to take control of the Gaza-Egypt border crossing, officials in Cairo warn that the move would undermine the 1979 peace treaty. Meanwhile, there’s a diplomatic scramble to avert full-scale war between Israel and Lebanon .

U.S. involvement: U.S. airstrikes in Iraq and Syria killed dozens of Iranian-linked militants , according to Iraqi officials. The strikes were the first round of retaliatory action by the Biden administration for an attack in Jordan that killed three U.S. service members .

• Republicans hug Netanyahu tighter as Democratic tensions with Israel war strategy boil Earlier today Republicans hug Netanyahu tighter as Democratic tensions with Israel war strategy boil Earlier today
• Blinken begins new round of Gaza talks in Saudi Arabia March 20, 2024 Blinken begins new round of Gaza talks in Saudi Arabia March 20, 2024
• Blinken to visit Israel amid tensions over plan to invade Rafah March 20, 2024 Blinken to visit Israel amid tensions over plan to invade Rafah March 20, 2024

‘Young Royals’ Stars on Series Finale’s ‘Biblical’ Decision, That ‘Tom Cruise’ Moment and What Part of the Ending They Initially Thought Was ‘Cringe’

By Hunter Ingram

Hunter Ingram

• ‘Young Royals’ Stars on Series Finale’s ‘Biblical’ Decision, That ‘Tom Cruise’ Moment and What Part of the Ending They Initially Thought Was ‘Cringe’ 3 days ago
• Eugene Levy Looks Back on ‘American Pie’ and ‘Schitt’s Creek,’ Working With Son Dan and Catherine O’Hara, and Whether He Finds Himself Funny 2 weeks ago
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SPOILER ALERT: This post contains spoilers from the series finale of “ Young Royals ,” now streaming on Netflix.

Long live the (former) Crown Prince!

In the series finale of Netflix’s queer romance “Young Royals,” Wilhelm ( Edvin Ryding ) officially abdicates the throne as the future king of Sweden, effectively handing the crown to his cousin/sometimes rival August (Malte Gårdinger). While Wilhelm’s decision has seismic implications for the royal family and the country, it played out in a quieter mother-son moment between Wilhelm and Queen Kristina (Pernilla August), as they drove away from his now-shuttered boarding school Hillerska.

“I think that moment is monumental,” Ryding tells Variety . “What he is doing, it is almost Biblical. Because when he has this calm and collected conversation with his mother, he is trying to say what he has insinuated many times before — that he is not the next king of Sweden. When he finally does that, it helps him so much more than just in his relationship with Simon.”

While it may not have been his true motivation, the personal declaration does serve as a grand romantic gesture when an unburdened Wilhelm chases after Simon’s car –– on foot! –– to share the good news. As if pulled right out of a rom-com, the two smile, shed a few tears and share a kiss before literally riding off into the sunset with each other, Simon’s sister Sarah (Frida Argento) and her best friend Felice (Nikita Uggla).

Despite that happy ending, Rudberg says Simon was initially hesitant to stop the car for Wilhelm. “But I think Simon, somewhere in his little heart, he feels hope. He is still in love with Wilhelm, and I like to think that he says, ‘Hit me one more time.’”

Let’s start with the most important question: Edvin, how much did you have to run to get the perfect take for that final scene?

Edvin Ryding: Too much! It was so much running. And we had to reshoot it, because I was running in these fancy shoes, so it was not easy to do, and my calves were hurting for like a week after it. But it was nice, because I got to have a full Tom Cruise moment, running at full speed. It was a lot of fun.

Omar Rudberg: And he didn’t even warm up! I think he just went from 0 to 100. It was crazy.

Ryding: I’m lucky I didn’t sprain something, actually.

We have seen so many romantic movies with that big profession of love, where the man runs after the woman or the woman goes after the man. Here, you both get to part of your own big rom-com moment that is not only between two men, but two young men. What was it like filming this?

Rudberg: I mean, it is a blessing. It has been one of my big dreams since I was a kid. I wanted to become an actor, but I didn’t really know how or if I even could act. And we always saw these loving and romantic movies, and it was so amazing. But then you realize those moments are kind of fake in a way! But my inner child would be very happy to see me doing this. It’s just a blessing to be a part of anything that means a lot to people.

Ryding: That specific scene — I know it’s corny, but I love it. It is amazing. If you put an x-ray over it, you see the substance that is in and underneath it. The dialogue they are having about how, “I told my mother this, and I needed this to be said,” and Simon is asking if he did it for him and Wilhelm saying “No, I did it for me.” It is everything Simon needs to hear in order for them to work, finally. So regardless of whether it is corny or not, the 360-degree shot and the music and the kissing and all of that is fun to shoot. But at the end, what you are watching is beautiful, and it has so much substance.

Rudberg: I also feel like there are things that are cornier than “Young Royals.” It has been so traumatic up to this point, so I feel like we can be a little corny at the end.

Edvin, you say in the “Young Royals Forever” documentary (also now streaming on Netflix) that you make playlists for your characters. You try to know them inside and out from day one. So what will giving up being king mean for Wilhelm?

Ryding: I think that moment is monumental. What he is doing, it is almost Biblical. Because when he has this calm and collected conversation with his mother, he is trying to say what he has insinuated many times before, that he is not the next king of Sweden. When he finally does that, it helps him so much more than just in his relationship with Simon. He grows so much as a human being in that moment and he embarks on this new chapter of adulthood, even though he is only 17.

Do you have an idea of what you would like to see him do with this newfound future?

Ryding: When I wrote down who I think he was during Season 1, it was very vivid and detailed about, like, what his dreams would have been and what his interests are. I always envisioned him as this person who wasn’t allowed to have dreams or interests fully. But now, I see him as a very creative person who just needs the space for it. I’ve always seen him as a person interested in fashion, so if I have to say something that would be my prediction for him.

But on the other hand, I feel very happy about the fact that the fans are the future script writers of the show. We are leaving these characters on a note of hope, and I hope the audience trusts that these characters go on to have a healthy life. Our fans have wild imaginations, so I trust that they will come up with brilliant stories for these characters in the future.

Omar, this big romantic climax comes as Simon is potentially leaving behind this life he’s built in Bjärstad. So what does it mean for him to be pulled back into it all?

Rudberg: In this last season, I felt like Simon was fighting with himself, because he is very in love with Wilhelm and he wants to be with him. But he sees the hurting that Wilhelm is going through and that Wilhelm’s family is going through, and that hurts him. Not only that, Simon is fighting with himself because, is he willing to literally lose himself just to be with Wilhelm?

But then he sees Wilhelm running after the car, and I feel like his first thoughts were: “Not again. We’ve already been through this. We’ve already broken up and we are on our way to living a normal life. Why are you running after me right now?” But I think Simon, somewhere in his little heart, he feels hope. He is still in love with Wilhelm, and I like to think that he says, “Hit me one more time.” He decides to walk out and see what Wilhelm has to say, and maybe it will be the last time we ever speak. But then Wilhelm said the right words.

Simon already said his goodbyes in the form of a song that he wrote and recorded for Wilhelm’s birthday. Omar, what was it like to record another song for the show, after the fan-favorite “Simon’s Song” from Season 2, which got a surprising reprise in the finale as well?

Ryding: Well, actually, we hated it from the beginning.

My first thoughts were that this was really cringe. Like, would Simon really write something like this? Would he really use these words? So it took some time for me to like it, because we didn’t even have the time to rewrite it since we were shooting it the next day.

Ryding: I was on you to tell them to change it. I told you, “You have to tell them! You have to refuse! Refuse!”

Rudberg: Yeah, I had played it for you, and you thought the same thing, right? It was just cringe.

Ryding: I was like, “Why would anyone be moved by this?” I also think that the way we are in that process, we are always critical about what is happening to Wilhelm and Simon. But we just gave into this feeling of trust that this was right, and it is going to pan out.

Rudberg: We had to trust [co-creator] Lisa [Ambjörn] and everyone who was involved.

Ryding: That’s the beauty of this collaboration on the show, because we are able to talk about those kinds of things. And hearing it now, it’s beautiful coming from this 16-year-old boy.

Rudberg: Yeah, this is, like, Simon’s second or third song that he has ever written. But for me, the one who was going to sing it, it was very personal. Singing is very personal for me, and if I don’t vibe with something, I’m probably going to hate it so much. But I had to understand that this is Simon singing, not Omar singing. This is Simon’s writing, not mine. So we just did it.

That day, I didn’t know the lyrics, the melody, or the chords. I couldn’t play the keyboard, so I had to do it acapella, and I had this inner earpiece that is literally hidden in the scene where I can hear the demo. It was a whole hot mess. But now that I’ve seen the whole context of the season, it makes sense. You get that it is Simon writing in his room and from his heart. It is beautiful.

Touch has been Wilhelm and Simon’s form of intimacy since the beginning. How did you settle on that being their love language, and how has that evolved over the series by that final kiss?

Ryding: From the beginning as we were talking about their intimacy, the leading word was curiousness. They were discovering each other, and each other’s bodies and needs. We worked very closely with our director and Sara Arrhusius, our intimacy coordinator, on that. And when we were on set and experimenting with the choreography of those scenes, we realized it just looks beautiful. Them slowly trying to move each other, and even in the scenes that aren’t so intimate, that touch always finds its way through. It just felt very natural for them. We wanted to keep that through Season 1 and 2, and by Season 3, it needed to still be that playfulness and that need to discover and be curious. But also, the comfort because they have chosen each other. I think it is a very beautiful evolution of intimacy throughout the season.

Rudberg: Yes, it really was.

Ryding: Yeah, pretty much. We are always rehearsing or talking about these scenes beforehand, if there is a kiss or a proper sex scene. But at this point we know these characters so well, and we know the way they interact with each other intimately. So I remember shooting that final 360-degree kiss felt very intuitive.

Rudberg: It was not really hard to do the kissing. It was always the energy and the emotion during that final scene and that kiss. This is finally when they get to be together for real, and Wilhelm chooses being free. It’s also the last scene of the series, so I was nervous about how I was going to do it. What do I feel? It was a lot of feelings in that scene.

Ryding: But it was nice for both of us to finally just let go and let it happen.

Rudberg: I was in the car, and I told our director I didn’t know how I was going to do this. I don’t really know what emotion to feel because it was also our last day of shooting. So then, right after one of our last takes, she comes to me in the car and whispers in my ear, “Just remember this is the last time you will ever shoot for ‘Young Royals,’” and then she was just like, “Bye!” I was like, “That’s not helpful!” But I just sat with that, and it worked.

Ryding: It did the trick!

This interview has been edited and condensed.

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Mary has a new enemy in young sheldon season 7 episode 6 synopsis.

Not long after she returns home, Mary finds a brand new enemy, as revealed by the official synopsis for Young Sheldon season 7, episode 6.

• Mary faces off against Mandy's mom in an upcoming episode of Young Sheldon , creating tension over wedding and baptism plans.
• Young Sheldon season 7, episode 6 will not air on March 21 due to March Madness, but will return on April 4, 2024.
• While the break may be frustrating, it allows for breathing room for the cast and crew and gives viewers a chance to catch up.

The official synopsis for Young Sheldon season 7, episode 6 pits Mary against a new enemy. Accompanying Sheldon in Germany, the Cooper matriarch spent the first few episodes of the year out of the country. Since coming back, however, Mary has already gone through quite a lot . After Young Sheldon season 7 kickstarts Mary's villainous arc , which would continue until the events of The Big Bang Theory , she now finds herself going up against another adversary.

Per CBS (via The Futon Critic ) Young Sheldon season 7 , episode 6, "Baptists, Catholics and an Attempted Drowning," Mary will go up against Mandy's mother, Audrey McCallister , about the upcoming joint family events. Aside from the confirmed wedding of Mandy and Georgie after getting engaged in the Young Sheldon season 6 finale, Baby Cece's baptism is also coming. As Mary reconnects with Pastor Jeff's church, it's expected that she will have strong opinions about both matters. Read the official synopsis below:

Georgie and Mandy's wedding plans pit Mary against Mandy's mom, Audrey (Rachel Bay Jones), with baby CeeCee caught in the middle.

When Young Sheldon Season 7, Episode 6 Will Release

Despite Young Sheldon 's already shortened final year , there won't be a new episode of The Big Bang Theory prequel on March 21. This may sound surprising, but for avid viewers, this shouldn't be anything new since the show tends to always take a week or two off the air around this time of the year. The reason stems from CBS' broadcast of March Madness , a ratings winner for the network, hence why it takes over Young Sheldon 's prime timeslot for a couple of weeks during this period.

There will be a two-week break for the show starting this week, meaning that it will also not air any new episode for its March 29 schedule. Instead, Young Sheldon season 7, episode 6 will release on April 4, 2024. At this point, It's uncertain if CBS is planning to do more mini-breaks in the final month and a half of the family comedy-drama, which is penciled to wrap up its run with a special one-hour offering on May 16. It's worth noting that aside from March Madness, CBS also considers the sweeps period from late April to May.

​​​​​​​Young Sheldon Season 7 Keeps On Proving Its Biggest Storytelling Loophole (But CBS Won’t Fix It)

Admittedly, the break is frustrating since it disturbs the show's pacing. That being said, the hiatus is also helpful for the cast and crew to have some breather from production or get ahead of its weekly schedule. It also allows those who aren't fully caught up in Young Sheldon season 7 to get through the episodes they haven't watched yet.

Young Sheldon season 7 airs new episodes every Thursday, 8pm ET on CBS.

Source CBS (via The Futon Critic )

Young Sheldon

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'The American Society of Magical Negroes': You don't wanna join this club

Aisha Harris

Aren (Justice Smith) and Roger (David Alan Grier) in The American Society of Magical Negroes. Focus Features hide caption

Aren (Justice Smith) and Roger (David Alan Grier) in The American Society of Magical Negroes.

Lately, I've been musing on the concept of time and its relationship to Black art and identity. I keep bumping into this question: What time do we all think we're living in right now?

In the year of someone's lord 2024, a recent episode of Feud: Capote vs. The Swans conjured up James Baldwin – the same James Baldwin who once wrote, "I don't like people who like me because I'm a Negro; neither do I like people who find in the same accident grounds for contempt" – as a Magical Negro to Truman Capote.

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A straight-faced excavation of this old Hollywood trope, which has been on the wane for some time, is startling enough. But now there's also Kobi Libii's feature debut, The American Society of Magical Negroes, which attempts to skewer it. The comedy writer and performer imagines an underground network of Black mystics who dedicate their lives to placating white people for the safety of Black people everywhere. "White discomfort," as one character opines, is the "nemesis" of Black existence.

If this all sounds like the premise for a classic Key & Peele sketch, you wouldn't be too far off . The trouble is, as far as I can tell, no one involved with writing Key & Peele had anything to do with the Society of Magical Negroes .

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The movie has at least two crucial factors working against it. For one, the Magical Negro trope isn't anywhere near as pervasive in Hollywood as it was when Spike Lee coined the term more than two decades ago. So despite being set in the present day, Libii's social commentary brings with it no new enlightenment on the dominant stereotypes Black people face now, despite a nearly two-hour runtime.

Second, it has no Black characters. To be clear, there are real Black performers playing these roles on screen. But one would think fully human, complexly written roles ought to exist in a movie where the goal is combatting multiple centuries' worth of one-dimensional representation. Here, they decidedly do not.

The Illuminati, but make it respectable

In Society of Magical Negroes , Justice Smith plays Aren, a dull and depressing L.A. artist whose specialty is dull and depressing abstract yarn installations. His latest work is on display at an art show, but no one "gets" it. When a white collector mistakes him for the waitstaff, Aren obliges and gets the man a drink instead of trying to convince him to buy his art.

A member of the actual waitstaff has been observing him all night and introduces himself. It turns out he's Roger (David Alan Grier), a jolly older man who's arrived to recruit Aren into the American Society of Magical Negroes, a "firm" that views itself as a group of world-class superheroes. He leads him to their secret headquarters, tucked away behind a Black barbershop, with hallowed rooms and halls that resemble Hogwarts or the Clue mansion. The visual world-building in this regard is the film's sole inspired choice.

Egotistical tech bro Jason (Drew Tarver) is Aren's first "client." Focus Features hide caption

Egotistical tech bro Jason (Drew Tarver) is Aren's first "client."

Each Society member is assigned a white "client" who's experiencing some sort of crisis and is dangerously close to taking out their anxieties on innocent Black people. (A "white tears meter" assists in monitoring the threat level at any given moment.) The Magical Negro's job is to befriend and counsel their client through all their issues until they get whatever it is they want. Aren's first guinea pig is Jason (Drew Tarver), a disgruntled, egotistical tech bro at a software company called MeetBox, who's angling for a promotion he almost certainly doesn't deserve. Aren is hired at MeetBox and immediately gets to work practicing his skill of being a personality-less doormat, which has a great effect on clueless Jason.

Did I mention this is also a workplace rom-com? Sure, why not? Aren discovers one of his other new colleagues is Lizzie (An-Li Bogan), a woman with whom he had the gawkiest and most unsexy of meet-cutes at a coffee shop earlier in the day. Lizzie happens to be Jason's "work-wife," but he's also into her, so that complicates Aren's adherence to his Magical Negro responsibilities and tests his commitment to The Cause.

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So many disparate ideas and tones are being mashed up here, and none of them gel. Libii spends a ton of time obsessing over the details and internal rules of these proud, respectability politicians. Yet he also has a slippery grasp on the trope he seeks to interrogate. In this world, the Magical Negro is broadened out from its very specific real-world definition – Spike Lee was referring to movies with "magical, mystical" Black characters in films like The Legend of Bagger Vance and The Green Mile – to an all-encompassing label that includes any Black person who's ever merely decided "Not today, Satan" and resisted the bait when dealing with racial microaggressions at work and Crispus Attucks.

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Those muddled conflations would be less jarring if Aren were written as anything other than a convenient vessel for showcasing a convoluted premise. We know nothing about him besides that he's a failed, self-loathing Rhode Island School of Design alum who's so spineless he'll awkwardly hold the door for a parade of oblivious exiting passersby before finally entering a coffee shop for himself. Before becoming a Magical Negro (I can't believe this is an actual sentence I'm writing), he has no community to speak of – no friends, no real job, and no family, except a white mom he offhandedly mentions. (This is somehow both very illuminating and not at all illuminating at the same time.) Where did he grow up? How can Aren afford to be a struggling artist with a decent apartment in Los Angeles in this economy? Has Aren ever spent any time with Black people? (Magical Negroes don't count.)

Lizzie (An-Li Bogan) and Aren (Justice Smith) have a tedious meet-cute at a coffee shop. Tobin Yelland/Focus Features hide caption

Lizzie (An-Li Bogan) and Aren (Justice Smith) have a tedious meet-cute at a coffee shop.

His character arc, if you wish to call it that, concludes with him superficially liberated. In the film's climax, he gives a grandstanding speech that's What It's Like to Be Black 101, a far more grating version of Barbie 's climactic Feminism 101 monologue. The moment is wholly unearned, and the epiphany lands with a thud because Aren didn't really start from any place real to begin with. There's nothing radical or daring about his journey to self-discovery, which hinges almost entirely on his romantic pining for Lizzie. In fact, Libii's script doesn't even try to engage with Black radicalism because if it did, The Society would have to come under far more rigorous scrutiny than the film is interested in pursuing. The Magical Negroes, so proud to have single-handedly "raised the Black life expectancy," at least according to society head Dede (Nicole Byer), exist in a world where the likes of Harriet Tubman, Marcus Garvey, the Black Panthers, and Bree Newsome never existed. The movie's finale seems content with that omission.

What time are we living in now?

Nicole Byer is Dede, head of the American Society of Magical Negroes. Focus Features hide caption

Nicole Byer is Dede, head of the American Society of Magical Negroes.

So: What time are we living in now? It depends on who you ask and where you look. Not unlike American Fiction , Society of Magical Negroes is convinced Black people on screen and in real life are, by and large, contending with the same stereotypes and barriers that we were 20 years ago. But that's its own kind of retrograde nostalgia trap to fall into, the kind that can only be constructed by ignoring key parts of history and the present reality.

There are pressing issues like pay inequities and Black-created TV shows being canceled far too soon. But there's also been so much exciting work being made by filmmakers on every level over the last decade – emerging voices like Nikyatu Jusu , Raven Jackson and Juel Taylor ; newly-minted titans like Issa Rae and Jordan Peele; established vets like Gina Prince-Bythewood. They've told stories spanning a breadth of genres, sensibilities and character studies, the stuff their predecessors dreamed of. Amid this landscape, it's hard not to view the Magical Negro as – thankfully – a relic.

Writing more than 25 years ago, bell hooks lamented how a dominant white supremacist environment forced too many Black artists to be hyperfocused on producing "resisting images," thus overwhelming their creative and upsetting artistic integrity. At the time, she observed that Black filmmaking was still a "fertile frontier" because of the lack of radical images, but that she foresaw a "far distant future" where Blackness will be "overworked, overdone" just as whiteness has been. We're a little bit closer to that future than we've ever been. But evidently, we've still got some ways to go.