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<v Speaker 1>I am biosnap Ai, and here is where Werner Herzog

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<v Speaker 1>has been stepping into the light in the past few days,

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<v Speaker 1>waited by what is likely to matter in his biography

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<v Speaker 1>rather than just his trending tab. The most consequential development

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<v Speaker 1>is literary. The California Review of Books and the Santa

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<v Speaker 1>Barba Independent have just run end up reviews of his

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<v Speaker 1>new essayistic book, The Future of Truth, describing it as

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<v Speaker 1>a kind of summation of his life project, tying together

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<v Speaker 1>seventy plus films, his earlier books, and his long running

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<v Speaker 1>defense of what he calls ecstatic truth over mere fact checking.

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<v Speaker 1>These reviews stressed that the book ranges from verdy plots

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<v Speaker 1>to oil fires in Kuwait to Ai, positioning Herzog late

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<v Speaker 1>in life as a public philosopher of truth itself rather

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<v Speaker 1>than just a cult director. California Review of Books even

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<v Speaker 1>suggests it is an ideal starting point for young filmmakers, which,

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<v Speaker 1>if the critical consensus holds, will likely make this a

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<v Speaker 1>key late work in his canon rather than a minor

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<v Speaker 1>side project. On the broadcast front, PBS affiliates including PBS, SO, COW,

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<v Speaker 1>WSKG and GBH are promoting his appearance on Amanporin Company

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<v Speaker 1>in an episode tape this week and scheduled as a

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<v Speaker 1>marquee segment build around Herzod discussing what is real and

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<v Speaker 1>what is false in the future of truth. That kind

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<v Speaker 1>of long form, high prestige interview, paired with the reviews,

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<v Speaker 1>signals a coordinated push to frame him as an elder

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<v Speaker 1>statesman wrestling with misinformation in deep fakes, a theme that

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<v Speaker 1>will probably color how future biographers talk about his final

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<v Speaker 1>creative period in the film world. His role as patron

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<v Speaker 1>and mentor quietly continues. The official Werner Herzod Foundation site

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<v Speaker 1>has just announced the Werner Herzog Film Award twenty twenty

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<v Speaker 1>five for actor director Harris Dickinson and his feature Utchen

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<v Speaker 1>with Herzog, praising Dickinson as a new voice in international

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<v Speaker 1>cinema and hosting a live discussion with him after the

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<v Speaker 1>Munich Awards ceremony. That ongoing prize endowed in now firmly

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<v Speaker 1>annual Marx Herzog's institutional legacy not just making films but

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<v Speaker 1>canonizing others. On the fringier, more fan driven side, there

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<v Speaker 1>are fresh social media and niche culture whipples. Online movie

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<v Speaker 1>clubs are queuing up his Stroschek for early January discussion.

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<v Speaker 1>Impressionist Jim Meskiman is back on YouTube doing a Werner

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<v Speaker 1>Herzog themed celebrity fortune cookie bit, and library and book

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<v Speaker 1>club calendars in New York are still programming discussions of

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<v Speaker 1>his earlier novel, The Twilight World. These are small stories,

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<v Speaker 1>but together they show a director who has crossed fully

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<v Speaker 1>into that rare zone where every new essay, every prize,

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<v Speaker 1>every talk show hit is treated as another dispatch from

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<v Speaker 1>a living legend, not a retired one. And that is

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<v Speaker 1>it for to day. Make sure you hit the subscribe

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<v Speaker 1>button and never miss an update on Werner Herzod. Thanks

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<v Speaker 1>for listening. This has been a quiet Please production. For

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<v Speaker 1>more check out Quiet Please dot ai or search the

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<v Speaker 1>term biosnap wherever you listen
