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"content": "\u003cp>Harris Wittels died Thursday. He was a stand-up comic, a television writer/producer, a musician, a frequent and dependably hilarious guest on comedy podcasts, and an author who unleashed the concept of the #humblebrag upon the cultural landscape.\u003c/p>\n\u003cp>He was 30 years old.\u003c/p>\n\u003cp>When anyone dies, our sadness is tinged with something darker and more selfish; we resent the time we’ll never get to spend with that person, the days and months and years that will pile up without their presence.\u003c/p>\n\u003cp>When a comedian dies, particularly one so young, we feel that resentment more keenly, because laughter is a limited resource – one of a very few things with the power to make those days and months and years pass more easily.\u003c/p>\n\u003cp>You’ll see some writing today about Wittels’ coinage of the term \u003cem>humblebrag\u003c/em> – the tendency for people, celebrities especially, to express a distinctly performative brand of faux-humility on social media. It became a whole thing, the #humblebrag hashtag, one Wittels frequently expressed some misgivings about.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Twitter, you can read some of his fellow comics weighing in on his stand-up and his music (with the band Don’t Stop or We’ll Die, formed with Paul Rust and Michael Cassady) while his fellow \u003cem>Parks and Recreation\u003c/em> writers laud his singular contributions to that show. (By the way: You know Harris, Pawnee’s Animal Control guy? That was him.)\u003c/p>\n\u003cp>But you and me, let’s talk podcasts.\u003c/p>\n\u003cp>Wittels may not have been a household name – in your household, anyway. In my household, and in the households of the nation’s comedy nerds, his name meant something. When you saw it listed as a guest on a given comedy podcast, as he was frequently on Scott Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> (nee \u003cem>Comedy Death Ray\u003c/em>), you dropped everything and started listening while the file was still downloading.\u003c/p>\n\u003cp>On \u003cem>Comedy Bang Bang\u003c/em>, Wittels was quick, self-deprecating, and hugely funny: he’d try out jokes he’d earlier typed into his phone in an impromptu segment called “Harris’ Phone Corner” (which almost immediately became “Harris’ Foam Corner” – never mind, long story) and revel in the affectionate mockery they’d inevitably receive from Aukerman and guests.\u003c/p>\n\u003cp>With Aukerman, he co-hosted the podcast \u003cem>Analyze Phish\u003c/em>, a show whose premise (Wittels a Phish super-fan, Aukerman a bemused Phish-skeptic; they talk) does little to hint at its dogged, exultant silliness, or the exasperated affection the two men share.\u003c/p>\n\u003cp>I’ve used the word “affection” twice in the last two paragraphs, because that’s the word that came through most clearly in every Wittels appearance: the guy was loved. You can \u003cem>hear\u003c/em> it.\u003c/p>\n\u003cp>Here’s a thing about podcasts – their loose, rangy, long-form format breeds a distinctive strain of intimacy. You’re listening to a conversation between two or more people, with all the digressions and hoary jokes their shared history engenders, and it feels familiar, comfortable, warm.\u003c/p>\n\u003cp>Last November, Wittels made a \u003ca href=\"http://www.nerdist.com/pepisode/you-made-it-weird-236-harris-wittels-returns/\" target=\"_blank\" rel=\"noopener\">second appearance\u003c/a> on \u003cem>You Made It Weird\u003c/em>, a podcast whose host, Pete Holmes, greets guests with a weaponized form of gregariousness that, if unchecked, can dominate conversations.\u003c/p>\n\u003cp>Listen to Wittels’ appearance. You get past the ghoulishness of it quickly: yes, Wittels talks at length about cycling through addiction and recovery, and tells some harrowingly funny and off-handedly profane stories about his first, fumbling encounters with heroin. But listen to how Wittels tells them – how clear-eyed, unsentimental, brutally honest, and hilarious he is.\u003c/p>\n\u003cp>He’s all of those things at once, each one bound up inextricably with the other. Listen to how Holmes – even Holmes! – gets quieter and quieter as Wittels talks.\u003c/p>\n\u003cp>It’s a conversation that clocks in at an hour and forty minutes. It would never fit into the programmatic confines of radio or television; it flows, it doubles back, it halts, it lurches forward. It’s a weird gift, is what it is.\u003c/p>\n\u003cp>Wittels is gone, and that’s sad. Infuriatingly so. There’s that familiar resentment – he was only 30 years old, which means we won’t get decades and decades of his comedy.\u003c/p>\n\u003cp>But he was improbably and gratifyingly prolific. His Twitter feed (\u003ca href=\"http://www.twitter.com/twittels\" target=\"_blank\" rel=\"noopener\">@twittels\u003c/a>) is still there, still hilarious, still so recognizably \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>There’s the \u003cem>Comedy Bang Bang\u003c/em> and \u003cem>Analyze Phish\u003c/em> archives, filled with Wittels’ voice and humor and jokes so determinedly bad they shade into performance art.\u003c/p>\n\u003cp>So while mourning his absence, maybe spend some time today, and in the days and months and years to come, enjoying his digital presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Do a search. Listen. Laugh. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Comedy+And+Good+Conversation+Of+Harris+Wittels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Twitter, you can read some of his fellow comics weighing in on his stand-up and his music (with the band Don’t Stop or We’ll Die, formed with Paul Rust and Michael Cassady) while his fellow \u003cem>Parks and Recreation\u003c/em> writers laud his singular contributions to that show. (By the way: You know Harris, Pawnee’s Animal Control guy? That was him.)\u003c/p>\n\u003cp>But you and me, let’s talk podcasts.\u003c/p>\n\u003cp>Wittels may not have been a household name – in your household, anyway. In my household, and in the households of the nation’s comedy nerds, his name meant something. When you saw it listed as a guest on a given comedy podcast, as he was frequently on Scott Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> (nee \u003cem>Comedy Death Ray\u003c/em>), you dropped everything and started listening while the file was still downloading.\u003c/p>\n\u003cp>On \u003cem>Comedy Bang Bang\u003c/em>, Wittels was quick, self-deprecating, and hugely funny: he’d try out jokes he’d earlier typed into his phone in an impromptu segment called “Harris’ Phone Corner” (which almost immediately became “Harris’ Foam Corner” – never mind, long story) and revel in the affectionate mockery they’d inevitably receive from Aukerman and guests.\u003c/p>\n\u003cp>With Aukerman, he co-hosted the podcast \u003cem>Analyze Phish\u003c/em>, a show whose premise (Wittels a Phish super-fan, Aukerman a bemused Phish-skeptic; they talk) does little to hint at its dogged, exultant silliness, or the exasperated affection the two men share.\u003c/p>\n\u003cp>I’ve used the word “affection” twice in the last two paragraphs, because that’s the word that came through most clearly in every Wittels appearance: the guy was loved. You can \u003cem>hear\u003c/em> it.\u003c/p>\n\u003cp>Here’s a thing about podcasts – their loose, rangy, long-form format breeds a distinctive strain of intimacy. You’re listening to a conversation between two or more people, with all the digressions and hoary jokes their shared history engenders, and it feels familiar, comfortable, warm.\u003c/p>\n\u003cp>Last November, Wittels made a \u003ca href=\"http://www.nerdist.com/pepisode/you-made-it-weird-236-harris-wittels-returns/\" target=\"_blank\" rel=\"noopener\">second appearance\u003c/a> on \u003cem>You Made It Weird\u003c/em>, a podcast whose host, Pete Holmes, greets guests with a weaponized form of gregariousness that, if unchecked, can dominate conversations.\u003c/p>\n\u003cp>Listen to Wittels’ appearance. You get past the ghoulishness of it quickly: yes, Wittels talks at length about cycling through addiction and recovery, and tells some harrowingly funny and off-handedly profane stories about his first, fumbling encounters with heroin. But listen to how Wittels tells them – how clear-eyed, unsentimental, brutally honest, and hilarious he is.\u003c/p>\n\u003cp>He’s all of those things at once, each one bound up inextricably with the other. Listen to how Holmes – even Holmes! – gets quieter and quieter as Wittels talks.\u003c/p>\n\u003cp>It’s a conversation that clocks in at an hour and forty minutes. It would never fit into the programmatic confines of radio or television; it flows, it doubles back, it halts, it lurches forward. It’s a weird gift, is what it is.\u003c/p>\n\u003cp>Wittels is gone, and that’s sad. Infuriatingly so. There’s that familiar resentment – he was only 30 years old, which means we won’t get decades and decades of his comedy.\u003c/p>\n\u003cp>But he was improbably and gratifyingly prolific. His Twitter feed (\u003ca href=\"http://www.twitter.com/twittels\" target=\"_blank\" rel=\"noopener\">@twittels\u003c/a>) is still there, still hilarious, still so recognizably \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>There’s the \u003cem>Comedy Bang Bang\u003c/em> and \u003cem>Analyze Phish\u003c/em> archives, filled with Wittels’ voice and humor and jokes so determinedly bad they shade into performance art.\u003c/p>\n\u003cp>So while mourning his absence, maybe spend some time today, and in the days and months and years to come, enjoying his digital presence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Do a search. Listen. Laugh. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Comedy+And+Good+Conversation+Of+Harris+Wittels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As long as hearts still beat in America, there will be a place for the big, gooey Disney sports movie. Like its forefathers \u003cem>Remember The Titans, Miracle, \u003c/em>and countless others,\u003cem> McFarland, USA\u003c/em> is a based-on-truth myth in which a maverick coach leads a ragtag team of misfits to victory against posh, polished enemies, touching the essence of the American dream in the process. There is a grand tradition at work here, a lifeblood that runs through mid-century entertainment like \u003cem>Knute Rockne—All American \u003c/em>and Kevin Costner’s baseball movies alike. All \u003cem>McFarland, USA\u003c/em> has to do is notch another feel-good win, another whoop of camaraderie for countrymen at the edge of their physical limits. This it does, with an admirable economy.\u003c/p>\n\u003cp>McFarland is a depressed, majority Latino central California desert town. High school students are either at work in the farms or halfway to prison (which, in a particularly nihilistic urban planning decision, is located across the street from the school). It’s 1987, the year loose-cannon gym teacher Jim White moves his family to town\u003cem>—\u003c/em>they’re white in name as well as nature, and their youngest blonde daughter looks at all the taco stands and asks if they’ve landed in Mexico. White, played by Costner with a deep growl and an eerie remove from his surroundings, typically coaches football, but his past tempers have banished him to this Nowheresville, where the kids are terrible at the game. They are fast on their feet, though, which leads White to form the school’s first cross-country team, and the audience to breathe a sigh of relief at finally getting some variety of sport in the movies.\u003c/p>\n\u003cp>The seven runners are snarky but generally harmless, and one of the film’s pleasant surprises is how much it lets the kids just be themselves, without telegraphing (too many) problems for Coach White to solve. Three of them are brothers who rise at dawn to pick on their father’s farm, then head back out there after practice every day. White joins them one morning, leading to some easy cross-country-cultural understanding.\u003c/p>\n\u003cp>Carlos Pratts turns in a soulful performance as Thomas, a loner delinquent who resists White’s attentions even as he sprints home every day at record times (one of the film’s many great visual sequences). Even the actors who don’t get much to do have a great screen presence, and there’s real heart in the easy ways they mock their coach, calling him “Blanco” and exploiting his ignorance of Latinos and farmhand life.\u003c/p>\n\u003cp>The combination of these John Steinbeck-ready landscapes and long-distance running is irresistibly cinematic, and director Niki Caro, who also made the gorgeous \u003cem>Whale Rider\u003c/em>, takes every opportunity to show off her riches. She uses plenty of wide-angle lenses as the kids run across sweeping California vistas, through the farms where they spend their mornings, and down the town’s dusty main drag. Long stretches, particularly in the first half, pass at an unhurried pace. Later, as the script requires McFarland residents to twine themselves with White’s family (throwing a Quinceañera for his daughter, for instance) and the athletes to learn life lessons at his feet, things feel too perfunctory. The problem is, it’s all too easy to believe White when he says his team has been through more hardship than he will ever know.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eventually (high school sports history spoiler alert) McFarland will win the first of many state championships by outpacing the field of country-club kids who underestimate them. The sport’s ranking system will allow the pudgy kid to have his moment of glory. White will even start cheering on his runners, Costner’s refusal to raise his voice through most of the film being the least convincing aspect of his rendering of a high school coach. Yes, there’s a formula. Yes, it’s corny. But running is about the journey, not the destination, and Disney sports movies don’t know how to quit until everyone has crossed the finish line. Bless them for it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Checking+Off+The+Boxes+Of+A+Disney+Sports+Movie+In+%27McFarland%2C+USA%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As long as hearts still beat in America, there will be a place for the big, gooey Disney sports movie. Like its forefathers \u003cem>Remember The Titans, Miracle, \u003c/em>and countless others,\u003cem> McFarland, USA\u003c/em> is a based-on-truth myth in which a maverick coach leads a ragtag team of misfits to victory against posh, polished enemies, touching the essence of the American dream in the process. There is a grand tradition at work here, a lifeblood that runs through mid-century entertainment like \u003cem>Knute Rockne—All American \u003c/em>and Kevin Costner’s baseball movies alike. All \u003cem>McFarland, USA\u003c/em> has to do is notch another feel-good win, another whoop of camaraderie for countrymen at the edge of their physical limits. This it does, with an admirable economy.\u003c/p>\n\u003cp>McFarland is a depressed, majority Latino central California desert town. High school students are either at work in the farms or halfway to prison (which, in a particularly nihilistic urban planning decision, is located across the street from the school). It’s 1987, the year loose-cannon gym teacher Jim White moves his family to town\u003cem>—\u003c/em>they’re white in name as well as nature, and their youngest blonde daughter looks at all the taco stands and asks if they’ve landed in Mexico. White, played by Costner with a deep growl and an eerie remove from his surroundings, typically coaches football, but his past tempers have banished him to this Nowheresville, where the kids are terrible at the game. They are fast on their feet, though, which leads White to form the school’s first cross-country team, and the audience to breathe a sigh of relief at finally getting some variety of sport in the movies.\u003c/p>\n\u003cp>The seven runners are snarky but generally harmless, and one of the film’s pleasant surprises is how much it lets the kids just be themselves, without telegraphing (too many) problems for Coach White to solve. Three of them are brothers who rise at dawn to pick on their father’s farm, then head back out there after practice every day. White joins them one morning, leading to some easy cross-country-cultural understanding.\u003c/p>\n\u003cp>Carlos Pratts turns in a soulful performance as Thomas, a loner delinquent who resists White’s attentions even as he sprints home every day at record times (one of the film’s many great visual sequences). Even the actors who don’t get much to do have a great screen presence, and there’s real heart in the easy ways they mock their coach, calling him “Blanco” and exploiting his ignorance of Latinos and farmhand life.\u003c/p>\n\u003cp>The combination of these John Steinbeck-ready landscapes and long-distance running is irresistibly cinematic, and director Niki Caro, who also made the gorgeous \u003cem>Whale Rider\u003c/em>, takes every opportunity to show off her riches. She uses plenty of wide-angle lenses as the kids run across sweeping California vistas, through the farms where they spend their mornings, and down the town’s dusty main drag. Long stretches, particularly in the first half, pass at an unhurried pace. Later, as the script requires McFarland residents to twine themselves with White’s family (throwing a Quinceañera for his daughter, for instance) and the athletes to learn life lessons at his feet, things feel too perfunctory. The problem is, it’s all too easy to believe White when he says his team has been through more hardship than he will ever know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eventually (high school sports history spoiler alert) McFarland will win the first of many state championships by outpacing the field of country-club kids who underestimate them. The sport’s ranking system will allow the pudgy kid to have his moment of glory. White will even start cheering on his runners, Costner’s refusal to raise his voice through most of the film being the least convincing aspect of his rendering of a high school coach. Yes, there’s a formula. Yes, it’s corny. But running is about the journey, not the destination, and Disney sports movies don’t know how to quit until everyone has crossed the finish line. Bless them for it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Checking+Off+The+Boxes+Of+A+Disney+Sports+Movie+In+%27McFarland%2C+USA%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In John Boorman’s first semi-autobiographical film, 1987’s \u003cem>Hope and Glory\u003c/em>, war came to the school-age protagonist’s London. In \u003cem>Queen and Country\u003c/em>, set roughly a decade later, the director’s alter ego goes to war — except that he doesn’t. As the Korean conflict rages, 19-year-old Bill Rohan (Callum Turner) is drafted, trained and sent into service as a typing instructor.\u003c/p>\n\u003cp>The movies take their titles from expressions of British exceptionalism, but do so ironically. Boorman, who wrote and directed both, is not concerned with duty, heroism and national dignity. The films charmingly — if in this case a bit less distinctively — salute mischief, insubordination and the disruptive power of love.\u003c/p>\n\u003cp>Since the Korean War didn’t hit Britain as directly as World War II, \u003cem>Queen and Country\u003c/em> lacks its predecessor’s drive. But it’s not haphazardly constructed. Playful capers often lead to severe repercussions, and characters and situations are mirrored in ways that multiply the story’s implications and deepen its empathy.\u003c/p>\n\u003cp>Bill is a teenage film buff who’s been enjoying a near-idyllic life on his family’s little island in the Thames, tantalizingly close to the soundstages of Shepperton Studios. He’s hardly the sort to regret not being sent to the front lines. He’s just a little bored by life on a military base, a less congenial island.\u003c/p>\n\u003cp>The jaded conscript is soon allied with a pair of troublemakers: Percy (Caleb Landry Jones), a fellow instructor, and Redmond (Pat Shortt), a champion skiver (British for “slacker”). Their enemies are persnickety Sergeants Major Bradley (David Thewlis) and Digby (Brian F. O’Byrne) and their superior, Major Cross (Richard E. Grant), who’s as exasperated as his name suggests.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Digby is obsessed with a mess-hall clock said to be a gift from Queen Victoria. His fixation is an irresistible goad to Percy, who executes a cunning plan to steal the heirloom. But the prank’s success ends in that famed oxymoron, military justice.\u003c/p>\n\u003cp>That’s typical of \u003cem>Queen and Country\u003c/em>, which is far from a searing drama yet seldom takes the glib way out. At a concert, Bill falls instantly for a enigmatic, aristocratic blonde he nicknames Ophelia (Tamsin Egerton). The slightly older woman encourages his interest, to a degree, but their long-term happiness never seems likely.\u003c/p>\n\u003cp>One thing Bill and Ophelia share is an interest in movies, and she takes him to Kurosawa’s then-recent \u003cem>Rashomon\u003c/em>. When he marvels at the film’s multiple narratives, she makes a tart observation about something all the versions of the tale have in common. It’s a grownup woman’s retort to boyish wonder, but also evidence of their contrary outlooks.\u003c/p>\n\u003cp>Ophelia has not one but two mirror images. Sophie (Aimee-Ffion Edwards) is a young nurse who dates Percy, but is very solicitous of Bill. Dawn (Vanessa Kirby) is Bill’s freewheeling older sister, now AWOL from her marriage to the man she met as a teenager in \u003cem>Hope and Glory\u003c/em>.\u003c/p>\n\u003cp>Dawn and other family members from the earlier movie (mostly played by different performers) make brief reappearances, notably when the clan gathers for the coronation of Queen Elizabeth II. The sequence allows Bill’s relatives to reveal their essential natures, but is also a harbinger of a new age: QE II’s crowning is the maiden voyage of the family’s first TV set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Bill visits melancholic Ophelia and uptight Sgt. Major Bradley in separate hospitals. Under very different circumstances, both seem to be victims of British society. But it’s by showing Bradley’s condition that Boorman offers a small rebuke to his own high-spirited wartime memoirs: Some men did go into battle, and their lives were not the stuff of antic comedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queen+And+Country%27+Follows+A+Familiar+Protagonist+Through+A+New+War&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In John Boorman’s first semi-autobiographical film, 1987’s \u003cem>Hope and Glory\u003c/em>, war came to the school-age protagonist’s London. In \u003cem>Queen and Country\u003c/em>, set roughly a decade later, the director’s alter ego goes to war — except that he doesn’t. As the Korean conflict rages, 19-year-old Bill Rohan (Callum Turner) is drafted, trained and sent into service as a typing instructor.\u003c/p>\n\u003cp>The movies take their titles from expressions of British exceptionalism, but do so ironically. Boorman, who wrote and directed both, is not concerned with duty, heroism and national dignity. The films charmingly — if in this case a bit less distinctively — salute mischief, insubordination and the disruptive power of love.\u003c/p>\n\u003cp>Since the Korean War didn’t hit Britain as directly as World War II, \u003cem>Queen and Country\u003c/em> lacks its predecessor’s drive. But it’s not haphazardly constructed. Playful capers often lead to severe repercussions, and characters and situations are mirrored in ways that multiply the story’s implications and deepen its empathy.\u003c/p>\n\u003cp>Bill is a teenage film buff who’s been enjoying a near-idyllic life on his family’s little island in the Thames, tantalizingly close to the soundstages of Shepperton Studios. He’s hardly the sort to regret not being sent to the front lines. He’s just a little bored by life on a military base, a less congenial island.\u003c/p>\n\u003cp>The jaded conscript is soon allied with a pair of troublemakers: Percy (Caleb Landry Jones), a fellow instructor, and Redmond (Pat Shortt), a champion skiver (British for “slacker”). Their enemies are persnickety Sergeants Major Bradley (David Thewlis) and Digby (Brian F. O’Byrne) and their superior, Major Cross (Richard E. Grant), who’s as exasperated as his name suggests.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Digby is obsessed with a mess-hall clock said to be a gift from Queen Victoria. His fixation is an irresistible goad to Percy, who executes a cunning plan to steal the heirloom. But the prank’s success ends in that famed oxymoron, military justice.\u003c/p>\n\u003cp>That’s typical of \u003cem>Queen and Country\u003c/em>, which is far from a searing drama yet seldom takes the glib way out. At a concert, Bill falls instantly for a enigmatic, aristocratic blonde he nicknames Ophelia (Tamsin Egerton). The slightly older woman encourages his interest, to a degree, but their long-term happiness never seems likely.\u003c/p>\n\u003cp>One thing Bill and Ophelia share is an interest in movies, and she takes him to Kurosawa’s then-recent \u003cem>Rashomon\u003c/em>. When he marvels at the film’s multiple narratives, she makes a tart observation about something all the versions of the tale have in common. It’s a grownup woman’s retort to boyish wonder, but also evidence of their contrary outlooks.\u003c/p>\n\u003cp>Ophelia has not one but two mirror images. Sophie (Aimee-Ffion Edwards) is a young nurse who dates Percy, but is very solicitous of Bill. Dawn (Vanessa Kirby) is Bill’s freewheeling older sister, now AWOL from her marriage to the man she met as a teenager in \u003cem>Hope and Glory\u003c/em>.\u003c/p>\n\u003cp>Dawn and other family members from the earlier movie (mostly played by different performers) make brief reappearances, notably when the clan gathers for the coronation of Queen Elizabeth II. The sequence allows Bill’s relatives to reveal their essential natures, but is also a harbinger of a new age: QE II’s crowning is the maiden voyage of the family’s first TV set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Bill visits melancholic Ophelia and uptight Sgt. Major Bradley in separate hospitals. Under very different circumstances, both seem to be victims of British society. But it’s by showing Bradley’s condition that Boorman offers a small rebuke to his own high-spirited wartime memoirs: Some men did go into battle, and their lives were not the stuff of antic comedy. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Queen+And+Country%27+Follows+A+Familiar+Protagonist+Through+A+New+War&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Midway through the hip new spy comedy \u003cem>Kingsman: The Secret Service\u003c/em>, ultra-classy secret agent Harry Hart (Colin Firth) infiltrates a sermon at a hate-spewing rural America congregation clearly modeled on the Westboro Baptist Church. Their sign out front proclaims “America Is Doomed,” and their pastor leaps across centuries’ worth of bigotry in a single bound. As Harry tries to quip his way out, a supervillain’s mind-control plot springs into motion, and he is compelled to murder all the churchgoers for no reason, in a brightly photographed, slow-motion frenzy of martial arts, gadgeteering, and impalement set to the Southern rock anthem “Freebird.”\u003c/p>\n\u003cp>The sequence teeters from cheeky to brutal, its humor from winking to shocking, both building on and desecrating the careful mythology the film has established. When a well-dressed man shows off a grenade disguised as a cigarette lighter, he will eventually use it; we just don’t expect it to be used so inelegantly, or that the inelegance will itself become the joke. This anti-gag is at the heart of \u003cem>Kingsman\u003c/em>, which keeps finding new ways to surprise with well-trodden territory.\u003c/p>\n\u003cp>The stylish super spies are members of a privatized espionage group founded more than a century ago by tailors to the wealthy, and the idea that menswear is keeping the world’s peace is just the tip of this film’s cult-ready sensibility. The gadgets, including an umbrella that doubles as both a shield and a projectile launcher, are designed around the Kingsmen model of the ideal gentleman: an expressly polite and impeccably dressed do-gooder who never wears brogue shoes and will only lay waste to a group of hoodlums after he’s already asked them nicely to leave. Years after one of their members is killed in battle, his street tough son Eggsy (relative newcomer Taron Egerton) finds his way to their latest recruiting class under Harry’s tutelage. But first, Harry will have to help Eggsy find the gentleman within. It looks so easy when Colin Firth wears that suit.\u003c/p>\n\u003cp>There’s naturally a villain at large: Valentine, a tech mogul (aren’t all modern supervillains?) whose world domination plot involves mind control transmitted via cell phones and computer chips planted in the minds of the global elite, like the world’s worst Davos conference. He’s played by Samuel L. Jackson, America’s favorite shouter, with an odd lisp. Valentine wants to wipe out the human race, but he can’t stand the sight of blood, and the funniest part of Jackson’s performance is that he plays this trait unironically: he cowers from his own gun even as he shoots it. A sultry sidekick with razors for legs named Gazelle (Sofia Boutella) is the most Bond-ian character to have never appeared in a Bond film.\u003c/p>\n\u003cp>But the film’s true conflict is between Eggsy and the oppressive posh legacy of the organization he’s trying to enter. During the long training sequence, Eggsy dodges jeers from his Oxford-educated rivals, resenting the class system even as he tries to climb it. But he isn’t above whooping with joy over Spy 101 stunts like skydiving, during a plummet which director Matthew Vaughn shoots with dizzying speed. There are so many activities the film drops the ball on a few, like a seduce-the-target training exercise that ends before realizing any comic potential.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vaughn and his co-writer Jane Goldman are the umpteenth filmmakers to send up the spy genre, but they’re also cleverly subverting the cult of Bondian Brit sophistication. After years of watching Michael Caine play the benevolent elder, it’s refreshing to see him here as a stubborn crank obsessed with bloodlines and absurd tests of character. When he commands Eggsy to shoot an adorable dog, we do a double-take — what if we can’t trust everything Michael Caine says, after all? — and Vaughn’s frenzied close-ups keep the scene from going off the rails.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Vaughn also made \u003cem>Kick-Ass\u003c/em>, which, like \u003cem>Kingsman\u003c/em>, is an R-rated genre sendup based on a Mark Millar comic book. (Question for the class: How popular do sendups need to be before they become the establishment instead of merely mocking it?) This film maintains the same irreverence and ultraviolence, but blessedly without the sour tone of \u003cem>Kick-Ass\u003c/em>: The joke rarely goes too far. Even so, scores of innocents still die, as in most save-the-world movies these days. Surely if gentlemen have rules about brogue shoes, they have rules about this sort of thing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Properly+Violent+%27Kingsman%27+Takes+On+A+Supervillain+With+Style&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Midway through the hip new spy comedy \u003cem>Kingsman: The Secret Service\u003c/em>, ultra-classy secret agent Harry Hart (Colin Firth) infiltrates a sermon at a hate-spewing rural America congregation clearly modeled on the Westboro Baptist Church. Their sign out front proclaims “America Is Doomed,” and their pastor leaps across centuries’ worth of bigotry in a single bound. As Harry tries to quip his way out, a supervillain’s mind-control plot springs into motion, and he is compelled to murder all the churchgoers for no reason, in a brightly photographed, slow-motion frenzy of martial arts, gadgeteering, and impalement set to the Southern rock anthem “Freebird.”\u003c/p>\n\u003cp>The sequence teeters from cheeky to brutal, its humor from winking to shocking, both building on and desecrating the careful mythology the film has established. When a well-dressed man shows off a grenade disguised as a cigarette lighter, he will eventually use it; we just don’t expect it to be used so inelegantly, or that the inelegance will itself become the joke. This anti-gag is at the heart of \u003cem>Kingsman\u003c/em>, which keeps finding new ways to surprise with well-trodden territory.\u003c/p>\n\u003cp>The stylish super spies are members of a privatized espionage group founded more than a century ago by tailors to the wealthy, and the idea that menswear is keeping the world’s peace is just the tip of this film’s cult-ready sensibility. The gadgets, including an umbrella that doubles as both a shield and a projectile launcher, are designed around the Kingsmen model of the ideal gentleman: an expressly polite and impeccably dressed do-gooder who never wears brogue shoes and will only lay waste to a group of hoodlums after he’s already asked them nicely to leave. Years after one of their members is killed in battle, his street tough son Eggsy (relative newcomer Taron Egerton) finds his way to their latest recruiting class under Harry’s tutelage. But first, Harry will have to help Eggsy find the gentleman within. It looks so easy when Colin Firth wears that suit.\u003c/p>\n\u003cp>There’s naturally a villain at large: Valentine, a tech mogul (aren’t all modern supervillains?) whose world domination plot involves mind control transmitted via cell phones and computer chips planted in the minds of the global elite, like the world’s worst Davos conference. He’s played by Samuel L. Jackson, America’s favorite shouter, with an odd lisp. Valentine wants to wipe out the human race, but he can’t stand the sight of blood, and the funniest part of Jackson’s performance is that he plays this trait unironically: he cowers from his own gun even as he shoots it. A sultry sidekick with razors for legs named Gazelle (Sofia Boutella) is the most Bond-ian character to have never appeared in a Bond film.\u003c/p>\n\u003cp>But the film’s true conflict is between Eggsy and the oppressive posh legacy of the organization he’s trying to enter. During the long training sequence, Eggsy dodges jeers from his Oxford-educated rivals, resenting the class system even as he tries to climb it. But he isn’t above whooping with joy over Spy 101 stunts like skydiving, during a plummet which director Matthew Vaughn shoots with dizzying speed. There are so many activities the film drops the ball on a few, like a seduce-the-target training exercise that ends before realizing any comic potential.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vaughn and his co-writer Jane Goldman are the umpteenth filmmakers to send up the spy genre, but they’re also cleverly subverting the cult of Bondian Brit sophistication. After years of watching Michael Caine play the benevolent elder, it’s refreshing to see him here as a stubborn crank obsessed with bloodlines and absurd tests of character. When he commands Eggsy to shoot an adorable dog, we do a double-take — what if we can’t trust everything Michael Caine says, after all? — and Vaughn’s frenzied close-ups keep the scene from going off the rails.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Vaughn also made \u003cem>Kick-Ass\u003c/em>, which, like \u003cem>Kingsman\u003c/em>, is an R-rated genre sendup based on a Mark Millar comic book. (Question for the class: How popular do sendups need to be before they become the establishment instead of merely mocking it?) This film maintains the same irreverence and ultraviolence, but blessedly without the sour tone of \u003cem>Kick-Ass\u003c/em>: The joke rarely goes too far. Even so, scores of innocents still die, as in most save-the-world movies these days. Surely if gentlemen have rules about brogue shoes, they have rules about this sort of thing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Properly+Violent+%27Kingsman%27+Takes+On+A+Supervillain+With+Style&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a brief prologue, Spike Lee’s \u003cem>Da Sweet Blood of Jesus\u003c/em> opens in the same Brooklyn church that was the centerpiece of his \u003cem>Red Hook Summer\u003c/em>. The moment seemingly connects \u003cem>Sweet Blood\u003c/em> not just to the 2012 film but also to movies further back in his career, since \u003cem>Red Hook \u003c/em>itself was billed as part of Lee’s “Chronicles of Brooklyn,” which include his early classics like \u003cem>She’s Gotta Have It\u003c/em> and \u003cem>Do the Right Thing\u003c/em>.\u003c/p>\n\u003cp>The scene is something of a red herring, though. For one thing, most of \u003cem>Sweet Blood \u003c/em>takes place on a large Martha’s Vineyard estate, not in Brooklyn. It’s also a remake of Bill Gunn’s 1973 moody horror film \u003cem>Ganja and Hess\u003c/em> (which just played as part of Film Society of Lincoln Center’s \u003ca href=\"http://www.npr.org/2015/02/05/383564277/losing-ground-steps-forward-at-lincoln-center\" target=\"_blank\" rel=\"noopener\">“Tell It Like It Is” series\u003c/a>) and tells the story of a wealthy archaeologist, Hess (Stephen Tyrone Williams), who turns into a vampire after being stabbed with an Ashanti dagger by his research assistant (Elvis Nolasco). Later, Hess falls in love with his assistant’s ex-wife, Ganja (Zaraah Abrahams), and turns her into a vampire as well.\u003c/p>\n\u003cp>The movie’s story, in other words, stands out quite starkly in Lee’s filmography. It does share \u003cem>Red Hook Summer\u003c/em>‘s somewhat erratic approach to narrative, but even in this respect, it pushes the envelope much further, a decision that actually makes \u003cem>Sweet Blood\u003c/em> a more provocative — and at times mesmerizing — movie than \u003cem>Red Hook\u003c/em>, though one that can still be baffling to watch.\u003c/p>\n\u003cp>There might seem like no better moment to release a remake of a 1970s vampire horror film, but \u003cem>Sweet Blood\u003c/em> will disappoint \u003cem>Twilight\u003c/em> fans in the same way that \u003cem>Ganja and Hess\u003c/em> let down anyone in 1973 who expected \u003cem>Blacula\u003c/em>. Hess’s desire here is treated as an addiction, as in Jim Jarmusch’s vampire film \u003cem>Only Lovers Left Alive\u003c/em>, but with none that movie’s elegance. For Hess and Ganja,\u003cem> \u003c/em>satisfying their desire for blood is a violent and ravenous affair, and the explicit way Lee films their feedings suggests he has carried over some lessons from his 2013 remake of \u003cem>Oldboy\u003c/em>.\u003c/p>\n\u003cp>More off-putting than the violence—and also more intriguing, frustrating, perplexing—is how Lee eschews any simple approach to narrative while telling what ultimately is a simple story of a man and woman who must reconcile their insatiable desire for blood with the immoral actions required to satisfy it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s pacing, deliberate and foreboding as the story leads up to Hess’s conversion, eventually gives way to a more irregular structure. Extended scenes—a party that Hess hosts for his well-to-do neighbors shortly after becoming a vampire, or his trip all the way to Brooklyn for the sole purpose of finding a body to feed on—often seem disconnected, with only minimal explanation or justification offered later.\u003c/p>\n\u003cp>And what can we make of the film’s prologue, a beautiful dance montage set in various locations across Brooklyn that blends hip-hop and ballet? It’s a gorgeous display, but Lee never returns to it, its connection to the rest of the film only tangentially explicable through broad themes about the body and flesh that he goes on to explore.\u003c/p>\n\u003cp>\u003cem>Sweet Blood\u003c/em> also uses its vampire story to reflect on violence, religion, race, and, in its repeated shots of Hess’ African art collection, the splendor and power of African civilizations. But Lee offers few easy answers about what he wants us to take away from it all.\u003c/p>\n\u003cp>It’s tempting to call the film muddled and be done with it, but there’s an inventiveness and beauty to Lee’s visuals here—whether in the rapturous prologue or the mysterious closing shot—and an experimentation in the execution that’s hard to ignore. \u003cem>Sweet Blood\u003c/em> is at once minimalist, paring down plot details to the bare necessities in many of its scenes, and, due to its sexuality and graphic violence, excessive. It’s a combination that makes watching it a singular experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lee funded \u003cem>Sweet Blood\u003c/em> through Kickstarter, and he has used the independence offered by that model to craft one of his most enigmatic works. It’s not entirely clear what to make of it, but then again, there’s an ambition in \u003cem>Sweet Blood\u003c/em> that won’t allow it to be discounted. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee+Turns+An+Intriguing+Eye+To+The+%27Sweet+Blood%27+Of+Vampires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a brief prologue, Spike Lee’s \u003cem>Da Sweet Blood of Jesus\u003c/em> opens in the same Brooklyn church that was the centerpiece of his \u003cem>Red Hook Summer\u003c/em>. The moment seemingly connects \u003cem>Sweet Blood\u003c/em> not just to the 2012 film but also to movies further back in his career, since \u003cem>Red Hook \u003c/em>itself was billed as part of Lee’s “Chronicles of Brooklyn,” which include his early classics like \u003cem>She’s Gotta Have It\u003c/em> and \u003cem>Do the Right Thing\u003c/em>.\u003c/p>\n\u003cp>The scene is something of a red herring, though. For one thing, most of \u003cem>Sweet Blood \u003c/em>takes place on a large Martha’s Vineyard estate, not in Brooklyn. It’s also a remake of Bill Gunn’s 1973 moody horror film \u003cem>Ganja and Hess\u003c/em> (which just played as part of Film Society of Lincoln Center’s \u003ca href=\"http://www.npr.org/2015/02/05/383564277/losing-ground-steps-forward-at-lincoln-center\" target=\"_blank\" rel=\"noopener\">“Tell It Like It Is” series\u003c/a>) and tells the story of a wealthy archaeologist, Hess (Stephen Tyrone Williams), who turns into a vampire after being stabbed with an Ashanti dagger by his research assistant (Elvis Nolasco). Later, Hess falls in love with his assistant’s ex-wife, Ganja (Zaraah Abrahams), and turns her into a vampire as well.\u003c/p>\n\u003cp>The movie’s story, in other words, stands out quite starkly in Lee’s filmography. It does share \u003cem>Red Hook Summer\u003c/em>‘s somewhat erratic approach to narrative, but even in this respect, it pushes the envelope much further, a decision that actually makes \u003cem>Sweet Blood\u003c/em> a more provocative — and at times mesmerizing — movie than \u003cem>Red Hook\u003c/em>, though one that can still be baffling to watch.\u003c/p>\n\u003cp>There might seem like no better moment to release a remake of a 1970s vampire horror film, but \u003cem>Sweet Blood\u003c/em> will disappoint \u003cem>Twilight\u003c/em> fans in the same way that \u003cem>Ganja and Hess\u003c/em> let down anyone in 1973 who expected \u003cem>Blacula\u003c/em>. Hess’s desire here is treated as an addiction, as in Jim Jarmusch’s vampire film \u003cem>Only Lovers Left Alive\u003c/em>, but with none that movie’s elegance. For Hess and Ganja,\u003cem> \u003c/em>satisfying their desire for blood is a violent and ravenous affair, and the explicit way Lee films their feedings suggests he has carried over some lessons from his 2013 remake of \u003cem>Oldboy\u003c/em>.\u003c/p>\n\u003cp>More off-putting than the violence—and also more intriguing, frustrating, perplexing—is how Lee eschews any simple approach to narrative while telling what ultimately is a simple story of a man and woman who must reconcile their insatiable desire for blood with the immoral actions required to satisfy it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s pacing, deliberate and foreboding as the story leads up to Hess’s conversion, eventually gives way to a more irregular structure. Extended scenes—a party that Hess hosts for his well-to-do neighbors shortly after becoming a vampire, or his trip all the way to Brooklyn for the sole purpose of finding a body to feed on—often seem disconnected, with only minimal explanation or justification offered later.\u003c/p>\n\u003cp>And what can we make of the film’s prologue, a beautiful dance montage set in various locations across Brooklyn that blends hip-hop and ballet? It’s a gorgeous display, but Lee never returns to it, its connection to the rest of the film only tangentially explicable through broad themes about the body and flesh that he goes on to explore.\u003c/p>\n\u003cp>\u003cem>Sweet Blood\u003c/em> also uses its vampire story to reflect on violence, religion, race, and, in its repeated shots of Hess’ African art collection, the splendor and power of African civilizations. But Lee offers few easy answers about what he wants us to take away from it all.\u003c/p>\n\u003cp>It’s tempting to call the film muddled and be done with it, but there’s an inventiveness and beauty to Lee’s visuals here—whether in the rapturous prologue or the mysterious closing shot—and an experimentation in the execution that’s hard to ignore. \u003cem>Sweet Blood\u003c/em> is at once minimalist, paring down plot details to the bare necessities in many of its scenes, and, due to its sexuality and graphic violence, excessive. It’s a combination that makes watching it a singular experience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lee funded \u003cem>Sweet Blood\u003c/em> through Kickstarter, and he has used the independence offered by that model to craft one of his most enigmatic works. It’s not entirely clear what to make of it, but then again, there’s an ambition in \u003cem>Sweet Blood\u003c/em> that won’t allow it to be discounted. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee+Turns+An+Intriguing+Eye+To+The+%27Sweet+Blood%27+Of+Vampires&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Early on in Celine Sciamma’s striking \u003cem>Girlhood\u003c/em>, a deft twist confounds what you might expect from a teen movie set in a mostly black, poverty-stricken suburb of Paris. Shut out of conventional paths to realize her ambition to be “like others, normal” and fed up with the tyranny of a bullying older brother at home, 16-year-old Marieme (Karidja Toure) takes up with a gang of tough-talking girls whose charismatic leader, Lady (Assa Sylla), fights other girls and wields a knife.\u003c/p>\n\u003cp>Pretty soon Marieme — or Vic, as she begins calling herself as she forges a less pliant street identity — is carrying a knife too. Only, don’t go expecting a kindly social worker to step in, save Marieme from toxic peer influence and set her on a path to mainstream success. In a \u003cem>banlieue\u003c/em> where the career prospects for girls skew to drugs and prostitution, there will be other predictable threats to her safety and well-being. But they won’t come from these lively, belligerent, stylish young women, who serve more as a bulwark for Marieme than a bad lot waiting to drag her down.\u003c/p>\n\u003cp>There’s plenty of plot to go around in \u003cem>Girlhood\u003c/em>, but Sciamma is more interested in creating a celebratory habitat for these girls that will break definitively from the somber, social-realist filmmaking that usually frames tales from the ghetto. Sciamma is white; the girls are all black, nonprofessional actors recruited from the neighborhoods where their characters live. She places Marieme and her friends front and center in a highly stylized, glamorized cityscape lit in brilliant blues. She retools the stark projects architecture into a beautiful stage on which the girls can fight, sing and dance their hearts out in improvised pop rituals.\u003c/p>\n\u003cp>The result, complete with musical sequences, is as polished and handsome as an MTV video. The girls, without exception, are all gorgeous in singular and arresting ways. There’s no lack of warmth in scenes of tenderness and love between Marieme and the younger sisters she cares for, and the handsome, decent beau with whom she can’t explore her sexuality because he is her brother’s friend and therefore — for reasons the movie is weirdly coy about — off-limits.\u003c/p>\n\u003cp>The energy and brassy confidence of Marieme’s posse is intoxicating. Yet sometimes it feels as though their world has been over-aestheticized, their stories hijacked to serve Sciamma’s ongoing interest in the theme she explored in two earlier coming-of-age movies, \u003cem>Tomboy\u003c/em> and\u003cem> Water Lilies\u003c/em>. She’s interested in the fluid nature of gender identity and dawning sexuality, and why not? She’s the author. But given the positioning of the girl gang as Marieme’s port in a storm, there’s something jarring about her abrupt transition from sweet-faced good girl to the dual identities she adopts when, without narrative logic, she quits home, boyfriend and gang to survive on the streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s as if the director threw a switch: Gussied up in a blond wig and red minidress by night to deliver drugs to the white bourgeoisie, Marieme morphs by day into Vic, a loping, grim-faced androgyne who won’t let anyone dictate where she calls home, or tell her story. Yet there’s no sense of how she got from A to B, or why becoming Vic doesn’t bring her the freedom and power to shape her destiny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in 1986, Spike Lee broke all sorts of new ground with his exuberant \u003cem>She’s Gotta Have It\u003c/em>, about a bohemian black woman and her three lovers. \u003cem>She’s Gotta Have It\u003c/em> was a pioneering work, but after that, no one could say a baton was passed. Off the top of my head I can think only of Dee Rees’ terrific 2011 indie \u003cem>Pariah\u003c/em>. Set in the black-feminist subculture, \u003cem>Pariah\u003c/em> — like Lee’s movie — had a wonderfully organic, flowing insider vibe to it. Given the scarcity of movies that speak to the experience of young black women today, Sciamma deserves all credit for filling that vacuum. By its end, though, \u003cem>Girlhood\u003c/em>, by comparison, feels like the work of a sympathetic outsider who can’t resist working her own agenda. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Parisian+Finds+Her+Place+In+A+Rarely+Seen+Part+Of+%27Girlhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early on in Celine Sciamma’s striking \u003cem>Girlhood\u003c/em>, a deft twist confounds what you might expect from a teen movie set in a mostly black, poverty-stricken suburb of Paris. Shut out of conventional paths to realize her ambition to be “like others, normal” and fed up with the tyranny of a bullying older brother at home, 16-year-old Marieme (Karidja Toure) takes up with a gang of tough-talking girls whose charismatic leader, Lady (Assa Sylla), fights other girls and wields a knife.\u003c/p>\n\u003cp>Pretty soon Marieme — or Vic, as she begins calling herself as she forges a less pliant street identity — is carrying a knife too. Only, don’t go expecting a kindly social worker to step in, save Marieme from toxic peer influence and set her on a path to mainstream success. In a \u003cem>banlieue\u003c/em> where the career prospects for girls skew to drugs and prostitution, there will be other predictable threats to her safety and well-being. But they won’t come from these lively, belligerent, stylish young women, who serve more as a bulwark for Marieme than a bad lot waiting to drag her down.\u003c/p>\n\u003cp>There’s plenty of plot to go around in \u003cem>Girlhood\u003c/em>, but Sciamma is more interested in creating a celebratory habitat for these girls that will break definitively from the somber, social-realist filmmaking that usually frames tales from the ghetto. Sciamma is white; the girls are all black, nonprofessional actors recruited from the neighborhoods where their characters live. She places Marieme and her friends front and center in a highly stylized, glamorized cityscape lit in brilliant blues. She retools the stark projects architecture into a beautiful stage on which the girls can fight, sing and dance their hearts out in improvised pop rituals.\u003c/p>\n\u003cp>The result, complete with musical sequences, is as polished and handsome as an MTV video. The girls, without exception, are all gorgeous in singular and arresting ways. There’s no lack of warmth in scenes of tenderness and love between Marieme and the younger sisters she cares for, and the handsome, decent beau with whom she can’t explore her sexuality because he is her brother’s friend and therefore — for reasons the movie is weirdly coy about — off-limits.\u003c/p>\n\u003cp>The energy and brassy confidence of Marieme’s posse is intoxicating. Yet sometimes it feels as though their world has been over-aestheticized, their stories hijacked to serve Sciamma’s ongoing interest in the theme she explored in two earlier coming-of-age movies, \u003cem>Tomboy\u003c/em> and\u003cem> Water Lilies\u003c/em>. She’s interested in the fluid nature of gender identity and dawning sexuality, and why not? She’s the author. But given the positioning of the girl gang as Marieme’s port in a storm, there’s something jarring about her abrupt transition from sweet-faced good girl to the dual identities she adopts when, without narrative logic, she quits home, boyfriend and gang to survive on the streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if the director threw a switch: Gussied up in a blond wig and red minidress by night to deliver drugs to the white bourgeoisie, Marieme morphs by day into Vic, a loping, grim-faced androgyne who won’t let anyone dictate where she calls home, or tell her story. Yet there’s no sense of how she got from A to B, or why becoming Vic doesn’t bring her the freedom and power to shape her destiny.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Back in 1986, Spike Lee broke all sorts of new ground with his exuberant \u003cem>She’s Gotta Have It\u003c/em>, about a bohemian black woman and her three lovers. \u003cem>She’s Gotta Have It\u003c/em> was a pioneering work, but after that, no one could say a baton was passed. Off the top of my head I can think only of Dee Rees’ terrific 2011 indie \u003cem>Pariah\u003c/em>. Set in the black-feminist subculture, \u003cem>Pariah\u003c/em> — like Lee’s movie — had a wonderfully organic, flowing insider vibe to it. Given the scarcity of movies that speak to the experience of young black women today, Sciamma deserves all credit for filling that vacuum. By its end, though, \u003cem>Girlhood\u003c/em>, by comparison, feels like the work of a sympathetic outsider who can’t resist working her own agenda. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Parisian+Finds+Her+Place+In+A+Rarely+Seen+Part+Of+%27Girlhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the years following the invasion of Iraq, it became a truism that Americans simply didn’t want to hear about the war — especially at the movies. While there were scads of films about Iraq, including Kathryn Bigelow’s Oscar-winning \u003cem>The Hurt Locker\u003c/em>, none was able to attract a big audience. Until \u003cem>American Sniper\u003c/em>.\u003c/p>\n\u003cp>Based on the best-selling memoir of the same title, Clint Eastwood’s film about Navy SEAL Chris Kyle has not only pulverized box office records but it has become a cultural phenomenon, especially in places that often get written off as the heartland. Its unexpected success has become the latest reminder that our prevailing image of American culture — the one in which Lena Dunham is an inescapable juggernaut — is largely based on media folks’ idea of what’s cool rather than the whole country’s taste.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nFar from being a triumphalist war movie, American Sniper comes tinged with a quiet and sad sense of waste.\u003cbr>\n\u003c/aside>\n\u003cp>Of course, given today’s polarized politics, the film has spawned the usual knee-jerk squabbling. Put crudely, its detractors argue that \u003cem>American Sniper\u003c/em> is a right-wing movie that ducks essential questions — like whether the Iraq war was a righteous one — and glorifies a remorseless sniper who killed somewhere between 160 and 250 people. Its defenders on the right accuse such critics of hating America and our troops. The left frets that \u003cem>American Sniper\u003c/em> is so popular because it lets viewers stay in denial about Iraq — it doesn’t say that the invasion was wrong, wrong, wrong. The right thinks it’s so popular because it celebrates good old-fashioned patriotism.\u003c/p>\n\u003cp>Both of these explanations are far too simple for a low-key movie that’s striking in its lack of stridency. As one who opposed the Iraq War, I think \u003cem>American Sniper\u003c/em> is good. Skillfully made, if sometimes a tad generic, it’s anchored by a terrific performance from Bradley Cooper, an articulate, thoughtful actor who completely immerses himself in Chris Kyle, a laconic man who doesn’t spend much time questioning things. One reason I like the movie is that it takes me inside a vision of life so very different to my own.\u003c/p>\n\u003cp>\u003cem>American Sniper\u003c/em> gives us the world as it’s lived and understood by Chris Kyle, who’s not especially interested in foreign policy or the daily lives of Iraqis. He’s a Texan raised to ideals of service and drawn to activities like bronco-riding and hunting. For him, the Navy SEALs are a perfect fit, especially after Sept. 11, and when he reaches Iraq, he finds his true metier. Being a sniper is stressful — you’re trying to protect your comrades while not murdering civilians — but Kyle is so good he becomes a legend. Back home, though, between tours of duty, his wife, played by Sienna Miller, feels her husband slipping away.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If \u003cem>American Sniper\u003c/em> was merely the story of Kyle killing bad guys, which is basically how \u003cem>he\u003c/em> saw his job, it would feel emotionally flat and meaningless. But Eastwood — who has spent decades exploring violence in its many permutations — charges things with complexity and ambivalence. Even as he respects Kyle’s self-possessed valor — he’s not a danger junkie like Jeremy Renner in \u003cem>The Hurt Locker\u003c/em> — Eastwood knows that you can’t do what Kyle does and get away untouched. We see the cost of service on Kyle’s family and, in the very changes in Cooper’s body language, the cost on an honorable man’s humanity. While Kyle displays no doubts about the Iraqi mission — some of his fellow soldiers do — the war changes and darkens his soul.\u003c/p>\n\u003cp>Far from being a triumphalist war movie, \u003cem>American Sniper\u003c/em> comes tinged with a quiet and sad sense of waste. It finds its culmination in Kyle’s murder, handled with great tact, at the hands of a disturbed veteran he’s trying to help out. This is a far cry from John Wayne’s sergeant being heroically shot down by a Japanese sniper in \u003cem>Sands of Iwo Jima\u003c/em> — a battle his troops go on to win. Nobody thinks the U.S. won in Iraq the way it won World War II. The world wasn’t saved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recognizing this, without ever explicitly saying it \u003cem>American Sniper\u003c/em> captures the essentially tragic truth of the war for millions of Americans who admire the bravery, sacrifice and patriotism of our men and women in uniform. It speaks emotionally to audiences who sense that we lost something in Iraq, yet still want to honor the heroism of those who risked their lives for the cause, whether or not it was ultimately a great one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Full+Of+Complexity+And+Ambivalence%2C+%27American+Sniper%27+Shows+The+Cost+Of+War+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the years following the invasion of Iraq, it became a truism that Americans simply didn’t want to hear about the war — especially at the movies. While there were scads of films about Iraq, including Kathryn Bigelow’s Oscar-winning \u003cem>The Hurt Locker\u003c/em>, none was able to attract a big audience. Until \u003cem>American Sniper\u003c/em>.\u003c/p>\n\u003cp>Based on the best-selling memoir of the same title, Clint Eastwood’s film about Navy SEAL Chris Kyle has not only pulverized box office records but it has become a cultural phenomenon, especially in places that often get written off as the heartland. Its unexpected success has become the latest reminder that our prevailing image of American culture — the one in which Lena Dunham is an inescapable juggernaut — is largely based on media folks’ idea of what’s cool rather than the whole country’s taste.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nFar from being a triumphalist war movie, American Sniper comes tinged with a quiet and sad sense of waste.\u003cbr>\n\u003c/aside>\n\u003cp>Of course, given today’s polarized politics, the film has spawned the usual knee-jerk squabbling. Put crudely, its detractors argue that \u003cem>American Sniper\u003c/em> is a right-wing movie that ducks essential questions — like whether the Iraq war was a righteous one — and glorifies a remorseless sniper who killed somewhere between 160 and 250 people. Its defenders on the right accuse such critics of hating America and our troops. The left frets that \u003cem>American Sniper\u003c/em> is so popular because it lets viewers stay in denial about Iraq — it doesn’t say that the invasion was wrong, wrong, wrong. The right thinks it’s so popular because it celebrates good old-fashioned patriotism.\u003c/p>\n\u003cp>Both of these explanations are far too simple for a low-key movie that’s striking in its lack of stridency. As one who opposed the Iraq War, I think \u003cem>American Sniper\u003c/em> is good. Skillfully made, if sometimes a tad generic, it’s anchored by a terrific performance from Bradley Cooper, an articulate, thoughtful actor who completely immerses himself in Chris Kyle, a laconic man who doesn’t spend much time questioning things. One reason I like the movie is that it takes me inside a vision of life so very different to my own.\u003c/p>\n\u003cp>\u003cem>American Sniper\u003c/em> gives us the world as it’s lived and understood by Chris Kyle, who’s not especially interested in foreign policy or the daily lives of Iraqis. He’s a Texan raised to ideals of service and drawn to activities like bronco-riding and hunting. For him, the Navy SEALs are a perfect fit, especially after Sept. 11, and when he reaches Iraq, he finds his true metier. Being a sniper is stressful — you’re trying to protect your comrades while not murdering civilians — but Kyle is so good he becomes a legend. Back home, though, between tours of duty, his wife, played by Sienna Miller, feels her husband slipping away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If \u003cem>American Sniper\u003c/em> was merely the story of Kyle killing bad guys, which is basically how \u003cem>he\u003c/em> saw his job, it would feel emotionally flat and meaningless. But Eastwood — who has spent decades exploring violence in its many permutations — charges things with complexity and ambivalence. Even as he respects Kyle’s self-possessed valor — he’s not a danger junkie like Jeremy Renner in \u003cem>The Hurt Locker\u003c/em> — Eastwood knows that you can’t do what Kyle does and get away untouched. We see the cost of service on Kyle’s family and, in the very changes in Cooper’s body language, the cost on an honorable man’s humanity. While Kyle displays no doubts about the Iraqi mission — some of his fellow soldiers do — the war changes and darkens his soul.\u003c/p>\n\u003cp>Far from being a triumphalist war movie, \u003cem>American Sniper\u003c/em> comes tinged with a quiet and sad sense of waste. It finds its culmination in Kyle’s murder, handled with great tact, at the hands of a disturbed veteran he’s trying to help out. This is a far cry from John Wayne’s sergeant being heroically shot down by a Japanese sniper in \u003cem>Sands of Iwo Jima\u003c/em> — a battle his troops go on to win. Nobody thinks the U.S. won in Iraq the way it won World War II. The world wasn’t saved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In recognizing this, without ever explicitly saying it \u003cem>American Sniper\u003c/em> captures the essentially tragic truth of the war for millions of Americans who admire the bravery, sacrifice and patriotism of our men and women in uniform. It speaks emotionally to audiences who sense that we lost something in Iraq, yet still want to honor the heroism of those who risked their lives for the cause, whether or not it was ultimately a great one. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Full+Of+Complexity+And+Ambivalence%2C+%27American+Sniper%27+Shows+The+Cost+Of+War+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Just Plane Sad: A Show of Support for SkyMall",
"headTitle": "Just Plane Sad: A Show of Support for SkyMall | KQED",
"content": "\u003cp>Whether it was the $85,000 personal submarine craft, the telepathic obstacle course or the yeti yard ornaments we could never quite afford, in-flight catalog \u003cem>SkyMall\u003c/em> — and the kitschy items sold inside its pages — are going to be hard to forget.\u003c/p>\n\u003cp>On Friday, \u003cem>SkyMall\u003c/em>‘s parent company filed for bankruptcy protection and announced that its assets would go up for auction in late March. So in preparation for the catalog’s possible disappearance from our seatback pockets, we asked people how they’d remember \u003cem>SkyMall\u003c/em>. Some of you wrote heartfelt testimonials. A few made it into \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">this post\u003c/a>, but there were many more. Here’s a sampling:\u003c/p>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s write-on map inspired an entire math education program in New Mexico, as Martha Riecks explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“While on a flight to an education conference in 2003, Scott Laidlaw, a middle school math teacher, opened up a \u003cem>Skymall\u003c/em> Catalog and saw the ‘World’s Largest Write On Map.’ He immediately envisioned his students trading merchandise while exploring the world in the 1600s.\u003c/p>\n\u003cp>“When the map arrived, it took up his entire classroom when spread out, and was soon covered with over 3,000 sticky notes. Students made small wooden ships, learning ratios and proportions as they enacted the spice trade. For six more years, Laidlaw developed and implemented new semester-long historical fiction math games.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Laurie Harari of Delray Beach, Fla., considers \u003cem>SkyMall\u003c/em> items such as the doggy stairs aspirational:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>SkyMall\u003c/em> has kept me going on my journey to get a real job someday. Since I was a small girl, I envisioned one day graduating from college, making a lot of money at my job, and having a really really tall bed. Beside that tall bed, I would have those doggy stairs that \u003cem>SkyMall\u003c/em> sold in its catalog.”\u003c/p>\n\u003c/blockquote>\n\u003cp>This blogger may be partial to \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">the garden yeti,\u003c/a> but a lot of you professed your love for the zombie yard ornament (seen above). Medical school student Mehwish Farooqi wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“I am disappointed that someday after medical school and my eventual pay off of my student loans, I will no longer have the opportunity to purchase a zombie yard ornament such as this. It was something to look forward to.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s demise also is a financial hit for those vendors whose wares are featured in the catalog, as Car-Dek President Joe Volpe shares:\u003c/p>\n\u003cblockquote>\n\u003cp>“We are one of the suppliers that is going to take a big financial hit by this bankruptcy. Our product, the Petdek, was sold by [\u003cem>SkyMall\u003c/em>] as the ‘All in one carrier’ for carrying pets and cargo in the back seat of vehicles. It was one of the most successful products they have ever sold and were averaging over 130 a month for retail sales of $165,000 last year. We manufacture in the US so quite a few people are going to be affected by this. Luckily we have many other vendors for our product, but this loss caught us completely off guard as they kept telling me they were financially solvent.”\u003c/p>\n\u003c/blockquote>\n\u003cp>And what happens to all the in-flight guerrilla art projects that \u003cem>SkyMall\u003c/em> inspired? Miles Taylor of Austin, Texas, explains:\u003c/p>\n\u003cfigure id=\"attachment_10339329\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/skymall_custom-4e44304ed62f847b01b5bad474edd50ea16e8dbc.jpg\" alt=\"SkyMall inspired a running guerrilla art project.\" width=\"200\" height=\"243\" class=\"size-full wp-image-10339329\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>SkyMall\u003c/em> inspired a running guerrilla art project.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“We would take \u003cem>SkyMall\u003c/em> magazine (which I remind you is ‘yours to keep’) and we would alter the images using various markers and pens. After filling the magazine with our little gags, we would take pictures on our phones and return the magazines to the seat pockets in front of us. Did any of you every come across our altered \u003cem>SkyMall\u003c/em> magazines on your flights?”\u003c/p>\n\u003c/blockquote>\n\u003cp>Not to by outdone, Paul Madore of St. Paul, Minn., sent in a poem with stanzas full of actual \u003cem>SkyMall\u003c/em> items available for purchase. This is called “Poem #18: Random Crap”:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>A grill cleaning robot\u003c/em>\u003c/p>\n\u003cp>\u003cem>video screen microscopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Snow Joe” brand snow broom\u003c/em>\u003c/p>\n\u003cp>\u003cem>with handle that telescopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An electric blue corkscrew,\u003c/em>\u003c/p>\n\u003cp>\u003cem>personalized wine stopper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Sheng Kwong” metal gong,\u003c/em>\u003c/p>\n\u003cp>\u003cem>an old-time corn popper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An illuminated zipline,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poole-themed clock (quartz),\u003c/em>\u003c/p>\n\u003cp>\u003cem>a paper towel rac\u003c/em>\u003c/p>\n\u003cp>\u003cem>housing four USB ports,\u003c/em>\u003c/p>\n\u003cp>\u003cem>talking Smurf toothbrushes\u003c/em>\u003c/p>\n\u003cp>\u003cem>a king crab-shaped chair,\u003c/em>\u003c/p>\n\u003cp>\u003cem>remote-controlled shark balloon\u003c/em>\u003c/p>\n\u003cp>\u003cem>that inflates with air,\u003c/em>\u003c/p>\n\u003cp>\u003cem>All these and more\u003c/em>\u003c/p>\n\u003cp>\u003cem>you can greedily eyeball\u003c/em>\u003c/p>\n\u003cp>\u003cem>while flying in comfort,\u003c/em>\u003c/p>\n\u003cp>\u003cem>please enjoy “SkyMall”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Just+Plane+Sad%3A+A+Show+Of+Support+For+SkyMall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "News last week that SkyMall's parent company has filed for bankruptcy protection inspired an outpouring of odes to the kitschy in-flight catalog.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether it was the $85,000 personal submarine craft, the telepathic obstacle course or the yeti yard ornaments we could never quite afford, in-flight catalog \u003cem>SkyMall\u003c/em> — and the kitschy items sold inside its pages — are going to be hard to forget.\u003c/p>\n\u003cp>On Friday, \u003cem>SkyMall\u003c/em>‘s parent company filed for bankruptcy protection and announced that its assets would go up for auction in late March. So in preparation for the catalog’s possible disappearance from our seatback pockets, we asked people how they’d remember \u003cem>SkyMall\u003c/em>. Some of you wrote heartfelt testimonials. A few made it into \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">this post\u003c/a>, but there were many more. Here’s a sampling:\u003c/p>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s write-on map inspired an entire math education program in New Mexico, as Martha Riecks explains:\u003c/p>\n\u003cblockquote>\n\u003cp>“While on a flight to an education conference in 2003, Scott Laidlaw, a middle school math teacher, opened up a \u003cem>Skymall\u003c/em> Catalog and saw the ‘World’s Largest Write On Map.’ He immediately envisioned his students trading merchandise while exploring the world in the 1600s.\u003c/p>\n\u003cp>“When the map arrived, it took up his entire classroom when spread out, and was soon covered with over 3,000 sticky notes. Students made small wooden ships, learning ratios and proportions as they enacted the spice trade. For six more years, Laidlaw developed and implemented new semester-long historical fiction math games.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Laurie Harari of Delray Beach, Fla., considers \u003cem>SkyMall\u003c/em> items such as the doggy stairs aspirational:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>SkyMall\u003c/em> has kept me going on my journey to get a real job someday. Since I was a small girl, I envisioned one day graduating from college, making a lot of money at my job, and having a really really tall bed. Beside that tall bed, I would have those doggy stairs that \u003cem>SkyMall\u003c/em> sold in its catalog.”\u003c/p>\n\u003c/blockquote>\n\u003cp>This blogger may be partial to \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/23/379334220/goodbye-garden-yeti-in-flight-catalog-skymall-files-for-bankruptcy\" target=\"_blank\" rel=\"noopener\">the garden yeti,\u003c/a> but a lot of you professed your love for the zombie yard ornament (seen above). Medical school student Mehwish Farooqi wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“I am disappointed that someday after medical school and my eventual pay off of my student loans, I will no longer have the opportunity to purchase a zombie yard ornament such as this. It was something to look forward to.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cem>SkyMall\u003c/em>‘s demise also is a financial hit for those vendors whose wares are featured in the catalog, as Car-Dek President Joe Volpe shares:\u003c/p>\n\u003cblockquote>\n\u003cp>“We are one of the suppliers that is going to take a big financial hit by this bankruptcy. Our product, the Petdek, was sold by [\u003cem>SkyMall\u003c/em>] as the ‘All in one carrier’ for carrying pets and cargo in the back seat of vehicles. It was one of the most successful products they have ever sold and were averaging over 130 a month for retail sales of $165,000 last year. We manufacture in the US so quite a few people are going to be affected by this. Luckily we have many other vendors for our product, but this loss caught us completely off guard as they kept telling me they were financially solvent.”\u003c/p>\n\u003c/blockquote>\n\u003cp>And what happens to all the in-flight guerrilla art projects that \u003cem>SkyMall\u003c/em> inspired? Miles Taylor of Austin, Texas, explains:\u003c/p>\n\u003cfigure id=\"attachment_10339329\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/skymall_custom-4e44304ed62f847b01b5bad474edd50ea16e8dbc.jpg\" alt=\"SkyMall inspired a running guerrilla art project.\" width=\"200\" height=\"243\" class=\"size-full wp-image-10339329\">\u003cfigcaption class=\"wp-caption-text\">\u003cem>SkyMall\u003c/em> inspired a running guerrilla art project.\u003c/figcaption>\u003c/figure>\n\u003cblockquote>\n\u003cp>“We would take \u003cem>SkyMall\u003c/em> magazine (which I remind you is ‘yours to keep’) and we would alter the images using various markers and pens. After filling the magazine with our little gags, we would take pictures on our phones and return the magazines to the seat pockets in front of us. Did any of you every come across our altered \u003cem>SkyMall\u003c/em> magazines on your flights?”\u003c/p>\n\u003c/blockquote>\n\u003cp>Not to by outdone, Paul Madore of St. Paul, Minn., sent in a poem with stanzas full of actual \u003cem>SkyMall\u003c/em> items available for purchase. This is called “Poem #18: Random Crap”:\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>A grill cleaning robot\u003c/em>\u003c/p>\n\u003cp>\u003cem>video screen microscopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Snow Joe” brand snow broom\u003c/em>\u003c/p>\n\u003cp>\u003cem>with handle that telescopes,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An electric blue corkscrew,\u003c/em>\u003c/p>\n\u003cp>\u003cem>personalized wine stopper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a “Sheng Kwong” metal gong,\u003c/em>\u003c/p>\n\u003cp>\u003cem>an old-time corn popper,\u003c/em>\u003c/p>\n\u003cp>\u003cem>An illuminated zipline,\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poole-themed clock (quartz),\u003c/em>\u003c/p>\n\u003cp>\u003cem>a paper towel rac\u003c/em>\u003c/p>\n\u003cp>\u003cem>housing four USB ports,\u003c/em>\u003c/p>\n\u003cp>\u003cem>talking Smurf toothbrushes\u003c/em>\u003c/p>\n\u003cp>\u003cem>a king crab-shaped chair,\u003c/em>\u003c/p>\n\u003cp>\u003cem>remote-controlled shark balloon\u003c/em>\u003c/p>\n\u003cp>\u003cem>that inflates with air,\u003c/em>\u003c/p>\n\u003cp>\u003cem>All these and more\u003c/em>\u003c/p>\n\u003cp>\u003cem>you can greedily eyeball\u003c/em>\u003c/p>\n\u003cp>\u003cem>while flying in comfort,\u003c/em>\u003c/p>\n\u003cp>\u003cem>please enjoy “SkyMall”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Just+Plane+Sad%3A+A+Show+Of+Support+For+SkyMall&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Gabe Polsky’s richly entertaining documentary \u003cem>Red Army\u003c/em> asks American sports and movie fans to do the hardest thing they may ever do: root for that eternal repository of villainy, the Russians. The film follows the Soviet Union’s superhuman ice hockey squad, the winningest team in the sport’s history and the envy of the world throughout the 1980s. Along the way, Polsky, himself the son of Russian immigrants and a former varsity hockey player at Yale, builds a case for the humanity of the athletes, national heroes instilled with patriotism who still had their passports confiscated by the Soviet authorities when they played overseas. With dark humor and an epic sweep characteristic of Executive Producer Werner Herzog, \u003cem>Red Army\u003c/em> sides not with nations or ideologies but with the transcendent powers of sport.\u003c/p>\n\u003cp>As good a jumping-off point as any for this thesis is the “Miracle on Ice”: the U.S. hockey team’s legendary upset over the U.S.S.R. at the Lake Placid 1980 Olympics. What was a famous, symbolic victory for Americans — one of the greatest wins in sports history, later Disneyfied in the 2004 film \u003cem>Miracle —\u003c/em> becomes in \u003cem>Red Army\u003c/em>‘s telling a humiliating personal defeat. The Soviet players weren’t out for capitalist blood so much as the simple opportunity to do right by their country on the world stage, to show off their influential crisscrossing, balletic playing style.\u003c/p>\n\u003cp>Many sequences are exemplars of sharp, funny documentary filmmaking. During the “Miracle,” Polsky cuts between footage of the game and his interviewees’ present-day silent faces to show how the loss shamed and, later, galvanized the team into a nearly decade-long global dominance. Editors Eli B. Despres and Kurt Engfehr get great mileage from both archival and present-day footage (players crawling across the ice on their stomachs during training; a former KGB agent chatting on a park bench as his young granddaughter fidgets around him). They reveal the complicated nature of patriotism, and the absurdity in treating sports as a chest-thumping global battle of wills.\u003c/p>\n\u003cp>Though Polsky spends time with several of the country’s top skaters, the film’s de facto hero is Hall of Famer defenseman Viacheslav “Slava” Fetisov, who frequently interrupts his interview sessions to take calls on his cellphone. Fetisov left his team, weathered threats on his family, and stared down the Soviet minister of defense to leave his country and play in the NHL. Polsky demonstrates an apt gift for weaving the personal narrative with the political, showing how Festiov valued his relationships with his teammates, family and country in equal measure.\u003c/p>\n\u003cp>As Fetisov and his teammates journey in the public eye from hometown heroes to capitalist pigs and back again, the film uses hockey as an allegory for communism: The ambitions of the individuals and the lure of freedom (well, free agency) ultimately overpowered their collective usefulness to the Soviet Union. The story of Soviet coach Viktor Tikhonov drives the metaphor home even further: After replacing beloved hockey visionary Anatoli Tarasov, the KGB appointee exerted strict control over his players, forcing the team to spend 11 months of the year at training camp and, according to Fetisov, abusing them mercilessly and teasing them with false promises of a future in the NHL. That someone with such apparent disregard for his players could churn such legendary success out of them is presented by Polsky not just as a story about sports but as a provocative question about communist leadership.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Red Army \u003c/em>moves at the frantic pace of a Russian hockey game: Setbacks can suddenly slip into opportunity, and vice versa. If anything, at only 76 minutes, the film is too brisk; Polsky could have done more with his brief epilogue, which sees several top stars return to a very different Russia following their own retirement from the game. Fetisov’s tenure as Vladimir Putin’s minister of sport is a strange attempt at a happy ending given the country’s current climate. A more thought-provoking finish comes earlier, recounting how none of the individual Russian players found success in America until they reunited in the mid-’90s as the Detroit Red Wings starting line. The Russian Five brought home back-to-back Stanley Cups, cheered on by Detroit fans sporting pins reading “Believe” in Russian. Another miracle, or sports as usual? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Tale+Of+The+Hockey+Players+For+Whom+1980+Was+No+Miracle+On+Ice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Red Army \u003c/em>moves at the frantic pace of a Russian hockey game: Setbacks can suddenly slip into opportunity, and vice versa. If anything, at only 76 minutes, the film is too brisk; Polsky could have done more with his brief epilogue, which sees several top stars return to a very different Russia following their own retirement from the game. Fetisov’s tenure as Vladimir Putin’s minister of sport is a strange attempt at a happy ending given the country’s current climate. A more thought-provoking finish comes earlier, recounting how none of the individual Russian players found success in America until they reunited in the mid-’90s as the Detroit Red Wings starting line. The Russian Five brought home back-to-back Stanley Cups, cheered on by Detroit fans sporting pins reading “Believe” in Russian. Another miracle, or sports as usual? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Tale+Of+The+Hockey+Players+For+Whom+1980+Was+No+Miracle+On+Ice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Duke of Burgundy\u003c/em> takes place in a town without any male presence. Where the men have gone, writer-director Peter Strickland won’t say. The absence is never mentioned, it only helps accentuate the otherworldliness of wherever the film is set: some facsimile of Earth that first seems right out of a fairy tale as we watch a caped Evelyn (Chiara D’Anna) bike into a quaint small town to the cheerful sound of the soundtrack from alt-pop duo Cat’s Eyes. When Evelyn arrives at an elegant, ivy-drenched home, Cynthia (Sidse Babett Knudsen) welcomes her with a cold “you’re late” and orders her around like a prickly mistress would Cinderella.\u003c/p>\n\u003cp>None of this, though, is at it appears. Instead, Cynthia’s orders to have Evelyn clean the house and wash her underwear are part of their tightly-scripted roleplaying, a sexual fantasy that Evelyn not only fully understands, but also, as we glean later from the detailed instruction cards that she leaves for Cynthia, fully controls. The twist is foreshadowed by Strickland’s allusion to 1970s European softcore films in the opening credits, but it exemplifies how the film marvelously, and repeatedly, opens up in surprising new directions.\u003c/p>\n\u003cp>Case in point: Evelyn and Cynthia’s relationship is also a veneer, a superficially provocative way to guide us into the film’s central love story, one about compromise, passion, and jealousy. \u003cem>The Duke of Burgundy\u003c/em> moves gradually but naturally toward this emotional territory. The housemaid routine is one that Cynthia and Evelyn repeat frequently, but the second time we see it, there’s a hint of boredom in Cynthia’s eyes, and as Evelyn is cleaning Cynthia’s boots, she has to knock on the door to get Cynthia to move along to the next part of the script.\u003c/p>\n\u003cp>The two, it becomes clear, are pushing further into a rut, one that Evelyn hopes to avoid by exploring new types of kink (she finds a large trunk that she gets Cynthia to lock her in at night). Cynthia, though, yearns for a different connection. When, one morning, Evelyn says to Cynthia, “Tell me something,” Cynthia replies: “I can start with how much I love you, and how happy I am that you’re here with me.” But Evelyn was after something else. “Talk about the other things,” she requests coyly, and Cynthia complies: “I’m \u003cem>not\u003c/em> happy with you at all,” she starts, as her hands and Evelyn’s slide under the covers.\u003c/p>\n\u003cp>The superficial control that Cynthia exerts over Evelyn sexually contrasts with her lack of emotional power. From that conflict, Strickland expertly weaves a psychological drama—a push and pull for domination—that, in D’Anna and Knudsen’s hands, never descends to mere gameplay; there are always real emotions at stake, in part because both actresses are so good at channeling their characters’ insecurities. (Evelyn, for her part, regularly makes exaggerated efforts to show off her intelligence while accompanying Cynthia to lectures at an entomology institute.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Strickland hides much beneath the surface in \u003cem>The Duke of Burgundy\u003c/em>, but the movie is also a delight to look upon; it’s the kind of lavish project that calls for recognition of the sound designer (Martin Pavey), production designer (Pater Sparrow), and costume designer (Andrea Flesch) by name. As shot by Strickland and cinematographer Nicholas D. Knowland (who worked together on Strickland’s previous film \u003cem>Berberian Sound Studio\u003c/em>), the colors of Cynthia’s house decorations glow and the textures of Cynthia and Evelyn’s lingerie seem to glide through your fingers. Meanwhile detailed sounds like Cynthia’s skirt rubbing against her tights as she raises it give the film its sensuality — as opposed to nudity, of which, remarkably, there is none.\u003c/p>\n\u003cp>Visually, Strickland moves in some surprising directions. A number of late scenes late in the movie—in particular a nightmarish dream sequence—have the dark look and sound of a horror film, with Evelyn and Cynthia resembling demonic mannequins. Some of these more abstract moments work wonderfully to leave us unsteady—unsure about the world in which the movie takes place, about where the film might be headed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s less clear how they fit with the love story that runs alongside them. Strickland at times appears caught between two movies—one driven by mood, the other by character. He develops each with equal precision and success, but they nevertheless don’t always feel of a piece. Still, if the movie is something like a meal of mismatched courses, it’s also one that’s never anything but a pleasure to eat up. Incongruity, after all, is at the heart of one of the film’s central accomplishments: crafting a world that seems foreign, mysterious, and yet, through its central relationship, messily, recognizably human. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love%2C+Sex+And+Power+In+A+World+Of+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Strickland hides much beneath the surface in \u003cem>The Duke of Burgundy\u003c/em>, but the movie is also a delight to look upon; it’s the kind of lavish project that calls for recognition of the sound designer (Martin Pavey), production designer (Pater Sparrow), and costume designer (Andrea Flesch) by name. As shot by Strickland and cinematographer Nicholas D. Knowland (who worked together on Strickland’s previous film \u003cem>Berberian Sound Studio\u003c/em>), the colors of Cynthia’s house decorations glow and the textures of Cynthia and Evelyn’s lingerie seem to glide through your fingers. Meanwhile detailed sounds like Cynthia’s skirt rubbing against her tights as she raises it give the film its sensuality — as opposed to nudity, of which, remarkably, there is none.\u003c/p>\n\u003cp>Visually, Strickland moves in some surprising directions. A number of late scenes late in the movie—in particular a nightmarish dream sequence—have the dark look and sound of a horror film, with Evelyn and Cynthia resembling demonic mannequins. Some of these more abstract moments work wonderfully to leave us unsteady—unsure about the world in which the movie takes place, about where the film might be headed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s less clear how they fit with the love story that runs alongside them. Strickland at times appears caught between two movies—one driven by mood, the other by character. He develops each with equal precision and success, but they nevertheless don’t always feel of a piece. Still, if the movie is something like a meal of mismatched courses, it’s also one that’s never anything but a pleasure to eat up. Incongruity, after all, is at the heart of one of the film’s central accomplishments: crafting a world that seems foreign, mysterious, and yet, through its central relationship, messily, recognizably human. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love%2C+Sex+And+Power+In+A+World+Of+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just last year, NBC said it was developing a new TV show with comedian \u003ca href=\"http://www.npr.org/tags/126948910/bill-cosby\">Bill Cosby\u003c/a>. Now, the network doesn’t want anything to do with him.\u003c/p>\n\u003cp>NBC Chairman Bob Greenblatt \u003ca href=\"http://www.usnews.com/news/entertainment/articles/2015/01/16/nbc-firmly-shuts-door-on-bill-cosby\" target=\"_blank\" rel=\"noopener\">said\u003c/a> “I think that’s safe to say” there won’t be any future projects with Cosby, who has been accused by several women of rape. Cosby starred in the network’s iconic \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>Greenblatt’s comments came today at the Television Critics Association Winter Press Tour in Pasadena, Calif.\u003c/p>\n\u003cp>Last November, NBC \u003ca href=\"http://fox4kc.com/2014/11/19/nbc-scraps-cosby-television-project-ap-releases-interview-regarding-sexual-assault-allegations/\" target=\"_blank\" rel=\"noopener\">pulled the plug\u003c/a> on its Cosby project.\u003c/p>\n\u003cp>“Fifteen women came out and accused him,” Greenblatt said. “While over the years we’d heard some of those accusations and knew there were a couple settlements, it didn’t seem to be the sort of thing that was critical mass.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s important to point out Cosby, 77, has \u003ca href=\"http://www.npr.org/2014/11/22/365828829/in-npr-and-ap-cosby-interviews-a-no-comment-that-said-everything\" target=\"_blank\" rel=\"noopener\">denied all the allegation\u003c/a> and has not been charged in any of the alleged assaults. Some of those allegations are decades old, and, as such, fall outside the statute of limitations. Cosby settled a 2005 suit that alleged sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The scandal has resulted in a slew of canceled performances in Cosby’s ongoing standup tour; a Netflix comedy special was also nixed. The U.S. Navy revoked an honorary title for the comedian, and he resigned from the board of trustees at Temple University. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Critical+Mass%27+Of+Rape+Allegations+Prompted+NBC+To+Cancel+Cosby+Project&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just last year, NBC said it was developing a new TV show with comedian \u003ca href=\"http://www.npr.org/tags/126948910/bill-cosby\">Bill Cosby\u003c/a>. Now, the network doesn’t want anything to do with him.\u003c/p>\n\u003cp>NBC Chairman Bob Greenblatt \u003ca href=\"http://www.usnews.com/news/entertainment/articles/2015/01/16/nbc-firmly-shuts-door-on-bill-cosby\" target=\"_blank\" rel=\"noopener\">said\u003c/a> “I think that’s safe to say” there won’t be any future projects with Cosby, who has been accused by several women of rape. Cosby starred in the network’s iconic \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>Greenblatt’s comments came today at the Television Critics Association Winter Press Tour in Pasadena, Calif.\u003c/p>\n\u003cp>Last November, NBC \u003ca href=\"http://fox4kc.com/2014/11/19/nbc-scraps-cosby-television-project-ap-releases-interview-regarding-sexual-assault-allegations/\" target=\"_blank\" rel=\"noopener\">pulled the plug\u003c/a> on its Cosby project.\u003c/p>\n\u003cp>“Fifteen women came out and accused him,” Greenblatt said. “While over the years we’d heard some of those accusations and knew there were a couple settlements, it didn’t seem to be the sort of thing that was critical mass.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s important to point out Cosby, 77, has \u003ca href=\"http://www.npr.org/2014/11/22/365828829/in-npr-and-ap-cosby-interviews-a-no-comment-that-said-everything\" target=\"_blank\" rel=\"noopener\">denied all the allegation\u003c/a> and has not been charged in any of the alleged assaults. Some of those allegations are decades old, and, as such, fall outside the statute of limitations. Cosby settled a 2005 suit that alleged sexual misconduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The scandal has resulted in a slew of canceled performances in Cosby’s ongoing standup tour; a Netflix comedy special was also nixed. The U.S. Navy revoked an honorary title for the comedian, and he resigned from the board of trustees at Temple University. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Critical+Mass%27+Of+Rape+Allegations+Prompted+NBC+To+Cancel+Cosby+Project&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "A Good Show for a Wandering Bear in ‘Paddington’ | KQED",
"content": "\u003cp>Paddington, British literature’s lovable anthropomorphic bear named after the train station where he was found, has always been a funny sort of fellow. For nearly 60 years, Michael Bond’s creation has enjoyed harmless adventures with his adopted Brown family in London, noshing on marmalade and allowing his good manners to point the way when his small brain can’t. His endearing qualities — politeness and a need to understand the world through trial and error — are the sort of subtle quirks that don’t always survive the transition to broad family films. Just ask Paddington’s spiritual cousins Stuart Little or The Cat in the Hat.\u003c/p>\n\u003cp>Parts of the new live-action film \u003cem>Paddington\u003c/em> look like the typical desperate, overly modernized kiddie fare. There’s a large dollop of unfortunate frenetic slapstick with skateboards, dogs, cross-dressing and an overplayed James Brown song. But aside from the bits that practically scream “studio-mandated,” director Paul King invokes the spirit and charm of Paddington’s personality. Even when he’s getting into outsized mishaps, the little bear from Darkest Peru always means well.\u003c/p>\n\u003cp>Ben Whishaw (he was the “new Q” in \u003cem>Skyfall\u003c/em>) voices the plucky young critter, a last-minute replacement for Colin Firth, who dropped out of the film mere months before its release in an amicable split. This was likely for the better. As gifted an actor as Firth is, the \u003cem>King’s Speech \u003c/em>star seems a bit too regal for Paddington, who after all is supposed to resemble a curious, clumsy child. The higher-voiced Whishaw gives the small fur ball an unforced innocence and vulnerability.\u003c/p>\n\u003cp>Whishaw is rounded out by an excellent cast of Important Actors Being Silly, including the always-effervescent Sally Hawkins as the Brown clan’s dotty matriarch; \u003cem>Downton Abbey\u003c/em>‘s Hugh Bonneville as the stuffy dad who sputters safety statistics like “Thirty-four percent of pre-breakfast accidents involve banisters!”; and Jim Broadbent as the kindly antiques shop owner Mr. Gruber, a fellow immigrant who shares a lovely, unspoken understanding with his new bear friend. Bond’s original stories didn’t have much in the way of outright awful people, but it takes superhuman Studio Ghibli strength for a children’s movie to come into this world without a villain. So Nicole Kidman dutifully dons an icy blond bowl cut to play Millicent, a nasty museum curator who wants Paddington stuffed. Between Millicent and the utterly dull third \u003cem>Night At The Museum \u003c/em>film, the London Natural History Museum is having a rough time at the movies.\u003c/p>\n\u003cp>It’s a pleasant surprise that \u003cem>Paddington\u003c/em> has a good deal of style and wit, as in a Wes Anderson-lite sequence where the bear envisions every room of the Brown household as a dollhouse model. Later, a flashback shows the Brown parents, expecting their first child, entering the delivery room as motorcycle-riding thrillsters but leaving as paranoid worrywarts in an SUV — parenting distilled in one single, brilliant gag. And not to get all political on this unassuming bear, but it’s even more of a pleasant surprise that the film doesn’t disguise its hero’s citizenship status. We see Paddington making his long and arduous journey from Darkest Peru to London as a stowaway once his aunt and uncle can no longer care for him, entering the U.K. without his papers, and pleading for kind benefactors by the train tracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This isn’t even a parable of immigration — in the context of the film, Paddington is a literal flesh-and-blood immigrant. Ironically it’s his CGI presence, with that prickly fur, those dark red eyes, and that tiny stature, that accentuates how the bear remains visually orphaned from his adopted surroundings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>King and co-screenwriter Hamish McColl bring the timeliest themes of Bond’s original stories to the forefront in an effective yet understated manner. When the posh urbanite family first spies the bear sitting by the tracks, with little more to his name than good manners and a cardboard sign (“Please look after this bear. Thank you”), Mr. Brown’s first instinct is to ignore him. It’s only once his family has helped demonstrate Paddington’s good nature and inherent blamelessness that he’s able to care for the bear as he would his own children. Kindness wins out in the end, naturally, but a specific and prescient form of kindness rather than the glib, one-size-fits-all brand usually seen in children’s movies. That, at least, deserves a marmalade sandwich. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Show+For+A+Wandering+Bear+In+%27Paddington%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This isn’t even a parable of immigration — in the context of the film, Paddington is a literal flesh-and-blood immigrant. Ironically it’s his CGI presence, with that prickly fur, those dark red eyes, and that tiny stature, that accentuates how the bear remains visually orphaned from his adopted surroundings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>King and co-screenwriter Hamish McColl bring the timeliest themes of Bond’s original stories to the forefront in an effective yet understated manner. When the posh urbanite family first spies the bear sitting by the tracks, with little more to his name than good manners and a cardboard sign (“Please look after this bear. Thank you”), Mr. Brown’s first instinct is to ignore him. It’s only once his family has helped demonstrate Paddington’s good nature and inherent blamelessness that he’s able to care for the bear as he would his own children. Kindness wins out in the end, naturally, but a specific and prescient form of kindness rather than the glib, one-size-fits-all brand usually seen in children’s movies. That, at least, deserves a marmalade sandwich. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Good+Show+For+A+Wandering+Bear+In+%27Paddington%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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