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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when competitors such as Netflix are developing series with marquee names such as David Fincher (\u003cem>House of Cards\u003c/em>) and Tina Fey (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>), the Globes win and Allen deal may help Amazon remain competitive in an increasingly crowded field.\u003c/p>\n\u003cp>The news also drew criticism from some on Twitter, noting Allen’s controversial personal history, including his marriage to Soon-Yi Previn, the adopted daughter of his former longtime girlfriend Mia Farrow.\u003c/p>\n\u003cp>Dylan Farrow, who was adopted by Mia Farrow and Allen, also \u003ca href=\"http://kristof.blogs.nytimes.com/2014/02/01/an-open-letter-from-dylan-farrow/?_r=0\">accused\u003c/a> the director of molesting her as a child in a column published in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>; Allen wrote his own column \u003ca href=\"http://www.nytimes.com/2014/02/09/opinion/sunday/woody-allen-speaks-out.html\">denying\u003c/a> the allegations.\u003c/p>\n\u003cp>As Allen’s name began trending on Twitter, some wondered if he would face the same public criticism — and problems with canceled projects — that befell Bill Cosby as a growing number of women have accused the comic of drugging and sexually assaulting them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this suggests that Amazon’s deal with Allen may offer unique challenges that reach far beyond the difficulties of translating Allen’s idea into the new medium of streaming television. \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=Woody+Allen+Is+The+Latest+Hollywood+Star+Director+To+Try+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Can’t they take a joke?” That’s the question that came up after the 2005 Danish cartoon controversy and now, again, after the massacre at the French satirical magazine \u003cem>Charlie Hebdo\u003c/em>. The suspected killers obviously reflect a tiny minority of extreme religious fanatics, but the question made us wonder: What is the role of satire in the Muslim world?\u003c/p>\n\u003cp>First let’s establish that saying “the Muslim world” is like saying “the Christian world” or Africa: We’re talking one and a half billion people all over the globe — of different races, ethnicities and languages — who believe different things. That said, Duke University religion professor Bruce Lawrence does have an answer when you ask him about Muslim traditions of satire. He says, “I’ve been studying the Muslim world for I guess now almost half a century, and one of my heroes has always been a ninth-century literary figure called al-Jahiz.”\u003c/p>\n\u003cp>In a golden era for Islamic music, art and science, Jahiz studied everything from zoology to literary theory. He wrote merciless social satires, and he was also famously ugly. “He could satire himself as somebody who was very unattractive,” Lawrence says, “and yet he could make fun of the rock stars of his generation in Baghdad, which was the capital city of the Muslim world in that time.”\u003c/p>\n\u003cp>According to Lawrence, Jahiz remains a beloved figure in Islamic literature, and it’s not because he recorded the glories of Islam. “He poked fun at contemporaries, at his co-religionists, at anybody who seemed to him to have too great a sense of self-importance, whatever their station in life.”\u003c/p>\n\u003cp>\u003cstrong>A 13th-Century Andy Kaufman\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10292831\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg\" alt=\"Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10292831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi. CREDIT: Chris Jackson/Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>That feels relevant to \u003ca href=\"http://www.azhar.com/\">Azhar Usman\u003c/a>, a Sunni stand-up comedian working in Chicago. Usman, whose family comes from India, says his comedy heroes are Richard Pryor, George Carlin and a 13th-century Sufi saint named Mullah Nasreddin. Usman says Nasreddin had “an Andy Kaufman type of personality.” He recalls a famous story about a time Nasreddin led Friday prayers. He asked the congregation, “How many of you know what I’m going to say?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nobody raised their hand,” Usman says. “So he said, ‘Well, what can I say to a bunch of people who have no idea what I’m going to say?’ And he leaves.” The people coax him back, promising to be more cooperative. So Nasreddin asks again, “How many of you know what I’m going to say?” This time, everybody raises their hand.\u003c/p>\n\u003cp>“And he says, ‘What am I supposed to say to a group of people that already know what I’m going to say?’ And he leaves,” Usman says. “So finally, they finally coax him back. ‘Oh, please don’t leave. We want to hear your wisdom.’ … So he gets up a third time and he says again, ‘How many of you know what I’m going to say?'” Half the crowd raises their hands; the other half doesn’t. “So he says, ‘Well the half that know what I’m going to say should tell the half that don’t know what I’m going to say.’ ”\u003c/p>\n\u003cp>\u003cstrong>‘The Boldest People In The Arab And The Muslim World’\u003c/strong>\u003c/p>\n\u003cp>According to scholar Bruce Lawrence, satirizing yourself and your own community is a tradition in Muslim literature and arts — and so is mocking people in power. “Political satirists are among the boldest people in the Arab and the Muslim world,” he says. Those people include Bassem Youssef, \u003ca href=\"http://www.npr.org/2011/04/15/135444956/egypt-finds-its-own-jon-stewart\">known as Egypt’s Jon Stewart\u003c/a>. Youssef’s satire took aim at politicians and the Muslim Brotherhood, and his show lasted two years before folding under pressure.\u003c/p>\n\u003cp>Lawrence says there’s also a strong tradition of political cartoonists in the Muslim world — cartoonists like Syria’s Ali Farzat, whose hands were broken in retaliation for cartoons that mocked President Bashar Assad. Afterward, according to Lawrence, Farzat “did a cartoon of himself in a hospital bed showing that even with his hands bandaged he could still manage to say some things against the regime.”\u003c/p>\n\u003cp>But Farzat was attacked for his portrayal of politics, not religion. Lawrence says satirizing \u003cem>people\u003c/em> is fine from the perspective of devout Muslims, but not so with religious figures — like God, Muhammad or any other saints or prophets — who are seen as existing on a different plane. And there are many thousands of them, including Adam, Moses and the Virgin Mary.\u003c/p>\n\u003cp>Comic Azhar Usman says sure, maintaining a bright line between what’s holy and what’s profane runs counter to a comedic credo that holds nothing sacred. But is it also fundamentally oppositional to universal values that Westerners hold dear? He says, “I think that that’s the honest discourse that I wish we could have in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usman says he greets offensive depictions of saints, prophets and God with forgiveness. And he notes that if you harshly judge what counts as satire from a rigid cultural perspective, you’ve learned almost nothing from the \u003cem>Charlie Hebdo\u003c/em> tragedy. \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=Satire+In+The+Muslim+World%3A+A+Centuries-Long+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Can’t they take a joke?” That’s the question that came up after the 2005 Danish cartoon controversy and now, again, after the massacre at the French satirical magazine \u003cem>Charlie Hebdo\u003c/em>. The suspected killers obviously reflect a tiny minority of extreme religious fanatics, but the question made us wonder: What is the role of satire in the Muslim world?\u003c/p>\n\u003cp>First let’s establish that saying “the Muslim world” is like saying “the Christian world” or Africa: We’re talking one and a half billion people all over the globe — of different races, ethnicities and languages — who believe different things. That said, Duke University religion professor Bruce Lawrence does have an answer when you ask him about Muslim traditions of satire. He says, “I’ve been studying the Muslim world for I guess now almost half a century, and one of my heroes has always been a ninth-century literary figure called al-Jahiz.”\u003c/p>\n\u003cp>In a golden era for Islamic music, art and science, Jahiz studied everything from zoology to literary theory. He wrote merciless social satires, and he was also famously ugly. “He could satire himself as somebody who was very unattractive,” Lawrence says, “and yet he could make fun of the rock stars of his generation in Baghdad, which was the capital city of the Muslim world in that time.”\u003c/p>\n\u003cp>According to Lawrence, Jahiz remains a beloved figure in Islamic literature, and it’s not because he recorded the glories of Islam. “He poked fun at contemporaries, at his co-religionists, at anybody who seemed to him to have too great a sense of self-importance, whatever their station in life.”\u003c/p>\n\u003cp>\u003cstrong>A 13th-Century Andy Kaufman\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10292831\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg\" alt=\"Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10292831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman-400x298.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Azhar-Usman.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Chicago comic Azhar Usman’s comedy heroes include George Carlin and a 13th-century Sufi saint named Mullah Nasreddi. CREDIT: Chris Jackson/Getty Images\u003c/figcaption>\u003c/figure>\n\u003cp>That feels relevant to \u003ca href=\"http://www.azhar.com/\">Azhar Usman\u003c/a>, a Sunni stand-up comedian working in Chicago. Usman, whose family comes from India, says his comedy heroes are Richard Pryor, George Carlin and a 13th-century Sufi saint named Mullah Nasreddin. Usman says Nasreddin had “an Andy Kaufman type of personality.” He recalls a famous story about a time Nasreddin led Friday prayers. He asked the congregation, “How many of you know what I’m going to say?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nobody raised their hand,” Usman says. “So he said, ‘Well, what can I say to a bunch of people who have no idea what I’m going to say?’ And he leaves.” The people coax him back, promising to be more cooperative. So Nasreddin asks again, “How many of you know what I’m going to say?” This time, everybody raises their hand.\u003c/p>\n\u003cp>“And he says, ‘What am I supposed to say to a group of people that already know what I’m going to say?’ And he leaves,” Usman says. “So finally, they finally coax him back. ‘Oh, please don’t leave. We want to hear your wisdom.’ … So he gets up a third time and he says again, ‘How many of you know what I’m going to say?'” Half the crowd raises their hands; the other half doesn’t. “So he says, ‘Well the half that know what I’m going to say should tell the half that don’t know what I’m going to say.’ ”\u003c/p>\n\u003cp>\u003cstrong>‘The Boldest People In The Arab And The Muslim World’\u003c/strong>\u003c/p>\n\u003cp>According to scholar Bruce Lawrence, satirizing yourself and your own community is a tradition in Muslim literature and arts — and so is mocking people in power. “Political satirists are among the boldest people in the Arab and the Muslim world,” he says. Those people include Bassem Youssef, \u003ca href=\"http://www.npr.org/2011/04/15/135444956/egypt-finds-its-own-jon-stewart\">known as Egypt’s Jon Stewart\u003c/a>. Youssef’s satire took aim at politicians and the Muslim Brotherhood, and his show lasted two years before folding under pressure.\u003c/p>\n\u003cp>Lawrence says there’s also a strong tradition of political cartoonists in the Muslim world — cartoonists like Syria’s Ali Farzat, whose hands were broken in retaliation for cartoons that mocked President Bashar Assad. Afterward, according to Lawrence, Farzat “did a cartoon of himself in a hospital bed showing that even with his hands bandaged he could still manage to say some things against the regime.”\u003c/p>\n\u003cp>But Farzat was attacked for his portrayal of politics, not religion. Lawrence says satirizing \u003cem>people\u003c/em> is fine from the perspective of devout Muslims, but not so with religious figures — like God, Muhammad or any other saints or prophets — who are seen as existing on a different plane. And there are many thousands of them, including Adam, Moses and the Virgin Mary.\u003c/p>\n\u003cp>Comic Azhar Usman says sure, maintaining a bright line between what’s holy and what’s profane runs counter to a comedic credo that holds nothing sacred. But is it also fundamentally oppositional to universal values that Westerners hold dear? He says, “I think that that’s the honest discourse that I wish we could have in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usman says he greets offensive depictions of saints, prophets and God with forgiveness. And he notes that if you harshly judge what counts as satire from a rigid cultural perspective, you’ve learned almost nothing from the \u003cem>Charlie Hebdo\u003c/em> tragedy. \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=Satire+In+The+Muslim+World%3A+A+Centuries-Long+Tradition&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sci-fi thriller \u003cem>Predestination\u003c/em> is pretty intriguing when it’s not being a sci-fi thriller. A twisty time-paradox movie in the vein of \u003cem>Minority Report \u003c/em>or \u003cem>Primer\u003c/em>, the film is certainly one of the biggest ever to feature an intersex protagonist. The unnamed character is played as both a man (in the present) and woman (in flashbacks) by the versatile actress Sarah Snook (\u003cem>Jessabelle\u003c/em>), who anchors the story’s choppy rhythms with touching clarity. In the movie’s long middle stretch, in-between some overfamiliar time travel business, the character’s tragic life story unfolds: an intermittently fascinating look at a perpetual outcast who can’t fit in on either side of the gender gap.\u003c/p>\n\u003cp>http://youtu.be/-FcK_UiVV40\u003c/p>\n\u003cp>Not only is the hero nameless; so is the man played by Snook’s co-lead, Ethan Hawke, a time-traveling crimestopper whose job is to make sure that people don’t forget this is supposed to be a hokey sci-fi movie. Hawke’s agent works for one of those paradox-flaunting government agencies that sends people back in time to stop crimes that have already occurred, never mind what new crimes might arise as a result. His target is the Fizzle Bomber, whose projectiles have killed—or will kill, or might kill—thousands of New Yorkers in this movie’s version of 1975. The stakes would seem higher if not for the apparent fact that the government can just send another agent should Hawke screw up.\u003c/p>\n\u003cp>Hawke packs his violin-shaped time machine and jumps to 1975 New York to pose as a bartender, which gives the low-budget film a lot of mileage from one basement bar set. The bartender’s purpose involves Snook’s androgynous depressive, who stops in for a drink and unwinds the dense (too dense, given this movie’s small scope) tale of his past life: assigned female at birth, abandoned at an orphanage as a baby, unaware of her intersex nature, teased in etiquette class, impregnated by a charming stranger, and forced out of the female sex by surgeons after a botched C-section, now self-identifying as a man. And there’s more. If this sounds like excessive plot recap, know that plot is pretty much all the movie has.\u003c/p>\n\u003cp>\u003cem>Predestination\u003c/em> is disorienting, but in a way that suggests narrative chaos rather than narrative control. The film’s mysteries hinge on who Hawke is and who Snook is—information its makers must deliberately withhold by obscuring faces, illustrating only partial flashbacks, that sort of thing. This is the kind of structure that works better in a short story, where authors can skim over visual tells that would bring a film to a halt, and indeed \u003cem>Predestination \u003c/em>is based on one by sci-fi legend Robert Heinlein. The idea was adapted and directed by Australian brothers Michael and Peter Spierig, who previously made the alien/zombie mashup \u003cem>Undead\u003c/em> and \u003cem>Daybreakers\u003c/em>,\u003cem> \u003c/em>an uncommonly stylish vampire flick that turned the formula on its head by making human blood a vanishing resource. \u003cem>Predestination \u003c/em>is a much flatter film than \u003cem>Daybreakers\u003c/em>, but has a distinctive enough concept to be worth a look from genre aficionados. The Spierigs should be commended for continuing to show ambition in their speculative fiction while too many of their peers settle for stagnancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Snook’s character is simultaneously the film’s biggest asset and its most frustrating demerit. The overwritten voiceover and clunky editing of his backstory undermine the subtleties of the actress’s performance—what’s the point of disguising several layers of grief if they’re about to be spelled out anyway? It’s not surprising the character ghost-writes a newspaper column (ridiculous penname: “The Unmarried Mother”), because his narration is flowery and needlessly expository in the manner of the profession’s worst columnists. His noir-lite banter with Hawke grows old fast, and distracts not only from the story’s emotional core but also from the film’s economy of production design: the orphanage’s rusty period look, the white porcelain gleam of a top-secret space program. When the Spierigs do get around to the sci-fi stuff, they must drastically speed up the film’s pacing and tone in order to squeeze it in. Unfortunate that a movie about time machines has such poor time management skills. \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=%27Predestination%27%3A+A+Complex+Protagonist+Walks+Into+A+Bar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sci-fi thriller \u003cem>Predestination\u003c/em> is pretty intriguing when it’s not being a sci-fi thriller. A twisty time-paradox movie in the vein of \u003cem>Minority Report \u003c/em>or \u003cem>Primer\u003c/em>, the film is certainly one of the biggest ever to feature an intersex protagonist. The unnamed character is played as both a man (in the present) and woman (in flashbacks) by the versatile actress Sarah Snook (\u003cem>Jessabelle\u003c/em>), who anchors the story’s choppy rhythms with touching clarity. In the movie’s long middle stretch, in-between some overfamiliar time travel business, the character’s tragic life story unfolds: an intermittently fascinating look at a perpetual outcast who can’t fit in on either side of the gender gap.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-FcK_UiVV40'\n title='//www.youtube.com/embed/-FcK_UiVV40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not only is the hero nameless; so is the man played by Snook’s co-lead, Ethan Hawke, a time-traveling crimestopper whose job is to make sure that people don’t forget this is supposed to be a hokey sci-fi movie. Hawke’s agent works for one of those paradox-flaunting government agencies that sends people back in time to stop crimes that have already occurred, never mind what new crimes might arise as a result. His target is the Fizzle Bomber, whose projectiles have killed—or will kill, or might kill—thousands of New Yorkers in this movie’s version of 1975. The stakes would seem higher if not for the apparent fact that the government can just send another agent should Hawke screw up.\u003c/p>\n\u003cp>Hawke packs his violin-shaped time machine and jumps to 1975 New York to pose as a bartender, which gives the low-budget film a lot of mileage from one basement bar set. The bartender’s purpose involves Snook’s androgynous depressive, who stops in for a drink and unwinds the dense (too dense, given this movie’s small scope) tale of his past life: assigned female at birth, abandoned at an orphanage as a baby, unaware of her intersex nature, teased in etiquette class, impregnated by a charming stranger, and forced out of the female sex by surgeons after a botched C-section, now self-identifying as a man. And there’s more. If this sounds like excessive plot recap, know that plot is pretty much all the movie has.\u003c/p>\n\u003cp>\u003cem>Predestination\u003c/em> is disorienting, but in a way that suggests narrative chaos rather than narrative control. The film’s mysteries hinge on who Hawke is and who Snook is—information its makers must deliberately withhold by obscuring faces, illustrating only partial flashbacks, that sort of thing. This is the kind of structure that works better in a short story, where authors can skim over visual tells that would bring a film to a halt, and indeed \u003cem>Predestination \u003c/em>is based on one by sci-fi legend Robert Heinlein. The idea was adapted and directed by Australian brothers Michael and Peter Spierig, who previously made the alien/zombie mashup \u003cem>Undead\u003c/em> and \u003cem>Daybreakers\u003c/em>,\u003cem> \u003c/em>an uncommonly stylish vampire flick that turned the formula on its head by making human blood a vanishing resource. \u003cem>Predestination \u003c/em>is a much flatter film than \u003cem>Daybreakers\u003c/em>, but has a distinctive enough concept to be worth a look from genre aficionados. The Spierigs should be commended for continuing to show ambition in their speculative fiction while too many of their peers settle for stagnancy.\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>Snook’s character is simultaneously the film’s biggest asset and its most frustrating demerit. The overwritten voiceover and clunky editing of his backstory undermine the subtleties of the actress’s performance—what’s the point of disguising several layers of grief if they’re about to be spelled out anyway? It’s not surprising the character ghost-writes a newspaper column (ridiculous penname: “The Unmarried Mother”), because his narration is flowery and needlessly expository in the manner of the profession’s worst columnists. His noir-lite banter with Hawke grows old fast, and distracts not only from the story’s emotional core but also from the film’s economy of production design: the orphanage’s rusty period look, the white porcelain gleam of a top-secret space program. When the Spierigs do get around to the sci-fi stuff, they must drastically speed up the film’s pacing and tone in order to squeeze it in. Unfortunate that a movie about time machines has such poor time management skills. \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=%27Predestination%27%3A+A+Complex+Protagonist+Walks+Into+A+Bar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Charlie Hebdo,' a Magazine of Satire, Mocks Politics, Religion",
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"content": "\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \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=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Charlie Hebdo\u003c/em>, the satirical French magazine that was \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">the target of a deadly attack today\u003c/a>, is part of \u003ca href=\"http://www.bbc.com/news/world-europe-15551998\" target=\"_blank\" rel=\"noopener\">a long tradition of French satire\u003c/a> dating to the days before the French Revolution.\u003c/p>\n\u003cp>The left-wing magazine is known for its biting takedowns. Its past targets include the political right wing, capitalism, Christianity, Judaism and Islam.\u003c/p>\n\u003cp>It most recently came to the world’s attention when \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2012/09/19/161394146/france-on-alert-closing-embassies-after-magazine-publishes-muhammad-cartoons\" target=\"_blank\" rel=\"noopener\">it published cartoons of Islam’s Prophet Muhammad\u003c/a> soon after the deadly 2012 attack on the U.S. consulate in Benghazi that killed Chris Stevens, the U.S. ambassador to Libya. Initially, it was thought that an anti-Islam film had fanned the violence. The magazine, in its cartoons, referred to that film. At the time, editor Stephane Charbonnier said the cartoons would “shock those who want to be shocked.”\u003c/p>\n\u003cp>Many Muslims consider the depiction of their prophet to be blasphemous.\u003c/p>\n\u003cp>A year earlier, \u003cem>Charlie Hebdo’s \u003c/em>\u003ca href=\"http://www.npr.org/blogs/thetwo-way/2011/11/02/141928567/french-newspaper-firebombed-after-satire-involving-prophet-muhammad\" target=\"_blank\" rel=\"noopener\">offices were firebombed\u003c/a> after it published an issue that invited the Prophet Muhammad to be guest editor; the issue included an article about what a soft version of Sharia might look like. The magazine was renamed \u003cem>Charia Hebdo\u003c/em> for the issue, and its cover included an image of the prophet with the line, “A thousand lashes if you don’t die laughing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The magazine was also part of the controversy over the publication in 2005 by the Danish newspaper \u003cem>Jyllands-Posten\u003c/em> of cartoons depicting Islam’s prophet. The newspaper said the decision to publish the 12 editorial cartoons would contribute to the debate over Islam and free speech. The move resulted in violent protests worldwide and threats against \u003cem>Jyllands-Posten\u003c/em>. In solidarity, \u003cem>Charlie Hebdo \u003c/em>reprinted the 12 cartoons in 2006. Its headline for the feature was “Muhammad Overwhelmed By Fundamentalists.”\u003c/p>\n\u003cp>Jacques Chirac, then-president of France, condemned what he called the magazine’s “overt provocation.” The magazine and then-editor Philippe Val were accused of insulting Muslims, \u003ca href=\"http://news.bbc.co.uk/2/hi/6479673.stm\" target=\"_blank\" rel=\"noopener\">but a French court ultimately ruled\u003c/a> that the cartoons were covered by France’s laws on freedom of expression.\u003c/p>\n\u003cp>The BBC offers a rundown of what else \u003cem>Charlie Hebdo\u003c/em> printed: “Police would be shown holding the dripping heads of immigrants; there would be masturbating nuns; popes wearing condoms — anything to make a point.”\u003c/p>\n\u003cp>The folks over at the \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">Daily Beast\u003c/a> have put together a slideshow of some of the magazine’s most controversial covers. You can find that \u003ca href=\"http://www.thedailybeast.com/galleries/2011/11/02/charlie-hebdo-french-satire-magazine-s-shocking-covers-photos.html#78cc5a13-e7f3-4428-b0ff-a53e4d42d8f9\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>The magazine has its roots in the 1960s, when many of its journalists worked at another satirical magazine, called \u003cem>Hara-Kiri\u003c/em>.\u003c/p>\n\u003cp>That magazine was banned after it published \u003ca href=\"http://www.ladepeche.fr/article/2011/11/03/1207143-de-hara-kiri-a-charlie-plus-de-40-ans-de-provocations.html\" target=\"_blank\" rel=\"noopener\">a mocking headline\u003c/a> in 1970 following two events that dominated the news at the time: the death of French President Charles de Gaulle and a fire at a discotheque that killed more than 100 people. In response, its staff started \u003cem>Charlie Hebdo\u003c/em>, the “Charlie” an apparent reference to the character from the Peanuts comic strip, which the magazine printed in its pages.\u003c/p>\n\u003cp>It’s important to note here that the magazine’s influence has gone far beyond its limited circulation. In fact, it has been in financial trouble. Its website \u003ca href=\"http://www.charliehebdo.fr/news/charlie-est-en-danger-107213.html\">noted today\u003c/a> that it needed to find ways to continue to exist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Financial worries aren’t new. It previously closed in 1981 because it ran out of money. The magazine was revived a decade later and continued publication — with its mixture of polemic wit and satire, offensive or hilarious depending on your point of view — until the attack on its offices today. \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=%27Charlie+Hebdo%2C%27+A+Magazine+Of+Satire%2C+Mocks+Politics%2C+Religion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Leviathan' and 'Two Days' Look for Oscar Gold",
"headTitle": "‘Leviathan’ and ‘Two Days’ Look for Oscar Gold | KQED",
"content": "\u003cp>The week between Christmas and New Year’s is always a boom time for Hollywood — generally the biggest box office week of the year. It is also a time of Oscar hopefuls, a group that included two foreign-language films in 2014: \u003cem>Two Days, One Night\u003c/em> from Belgium, and Russia’s \u003cem>Leviathan\u003c/em>, both of which tackle social issues through the lens of family.\u003c/p>\n\u003cp>A phone rings at the start of \u003cem>Two Days, One Night\u003c/em>, waking up Sandra with bad news about her job. She’d been sidelined by illness — now, just as she’s ready to come back to the assembly line, the Belgian factory she works at has offered its employees a choice: They can have a year-end bonus, or Sandra can return to her job. Their bonus, her job, their vote. And of 16 employees, 14 have voted for the bonus.\u003c/p>\n\u003cp>“You musn’t cry,” she tells herself, and there is one ray of hope. Because a foreman influenced the vote unfairly, management has scheduled a second vote on Monday. So Sandra has the rest of the weekend — two days and one night — to round up support. As she visits her co-workers at home, her dilemma (which is really their shared dilemma) is clear: In an economic downturn, everyone needs the money. Some turn her down flat. Others are more sympathetic. One bursts into tears the moment Sandra broaches the subject and begs her forgiveness for voting in his own self-interest.\u003c/p>\n\u003cp>The awkwardness, the humiliation and the central unfairness of the position these folks have been put in is what filmmakers Luc and Jean-Pierre Dardenne are exploring in \u003cem>Two Days, One Night\u003c/em> — a slice of pressurized middle-class life they’ve made so real, it feels a bit like a documentary.\u003c/p>\n\u003cp>And that’s despite the fact that for the first time, the filmmakers are working with a major star — Marion Cotillard, who’s previously played Edith Piaf and a glamorous Batman nemesis, but who here more or less disappears into mousy, insecure Sandra. Sandra who is stronger than she realizes, but who is in a really tense spot for every minute of those two days and one night.\u003c/p>\n\u003cfigure id=\"attachment_10269948\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/leviathan-d35b6636123d265dc20befe1dc40780c9b4c95cb-e1420242034129.jpg\" alt=\"Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10269948\">\u003cfigcaption class=\"wp-caption-text\">Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\u003c/figcaption>\u003c/figure>\n\u003cp>The Russian film \u003cem>Leviathan\u003c/em> is also about an individual bucking a system, but you’d be forgiven for thinking that it’s really about vodka. The plot centers on a hot-tempered mechanic named Kolya, who consumes enormous amounts of that most Russian of spirits even when things are going well, and when we meet him, things are not going well. He’s about to lose his waterfront home in a land dispute with the town’s crooked mayor. A hotshot lawyer buddy he has called in from Moscow has a plan involving blackmail, but the two of them are three sheets to the wind when the equally soused mayor shows up with his goons, shouting threats and insults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Leviathan\u003c/em> is structured as an intimate suspense story, with a Job-like hero on whom all sorts of hell will be visited by an uncaring state. But it’s also a dark social satire of a Russian society that’s plagued by the same bureaucracy, corruption and pretense that were mocked by Chekhov and Gogol a century ago.\u003c/p>\n\u003cp>Scenes that are about to turn catastrophic for Kolya often begin with flat-out comedy. A birthday picnic, for instance, where alcohol will mix badly with machismo, starts with Kolya’s friends using framed photos of old Soviet leaders for target practice. When Kolya asks if they have anyone more recent — nobody says Vladimir Putin, but the implication is clear — he’s told the newer guys should “ripen” on the walls a bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All this is heading to a very dark place for Kolya. When things get about as bad as they can, he drunkenly asks a local priest whether having faith could turn things around for him. The priest quotes a line from the book of Job about pulling in Leviathan with a fish hook, but Kolya is not in the mood for biblical riddles, and the filmmakers are saving their most caustic observations about the church for later. The state, meanwhile, remains implacable, dominating a landscape of visual majesty — and enormous sadness. \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=%27Leviathan%27+And+%27Two+Days%27+Look+For+Oscar+Gold&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The week between Christmas and New Year’s is always a boom time for Hollywood — generally the biggest box office week of the year. It is also a time of Oscar hopefuls, a group that included two foreign-language films in 2014: \u003cem>Two Days, One Night\u003c/em> from Belgium, and Russia’s \u003cem>Leviathan\u003c/em>, both of which tackle social issues through the lens of family.\u003c/p>\n\u003cp>A phone rings at the start of \u003cem>Two Days, One Night\u003c/em>, waking up Sandra with bad news about her job. She’d been sidelined by illness — now, just as she’s ready to come back to the assembly line, the Belgian factory she works at has offered its employees a choice: They can have a year-end bonus, or Sandra can return to her job. Their bonus, her job, their vote. And of 16 employees, 14 have voted for the bonus.\u003c/p>\n\u003cp>“You musn’t cry,” she tells herself, and there is one ray of hope. Because a foreman influenced the vote unfairly, management has scheduled a second vote on Monday. So Sandra has the rest of the weekend — two days and one night — to round up support. As she visits her co-workers at home, her dilemma (which is really their shared dilemma) is clear: In an economic downturn, everyone needs the money. Some turn her down flat. Others are more sympathetic. One bursts into tears the moment Sandra broaches the subject and begs her forgiveness for voting in his own self-interest.\u003c/p>\n\u003cp>The awkwardness, the humiliation and the central unfairness of the position these folks have been put in is what filmmakers Luc and Jean-Pierre Dardenne are exploring in \u003cem>Two Days, One Night\u003c/em> — a slice of pressurized middle-class life they’ve made so real, it feels a bit like a documentary.\u003c/p>\n\u003cp>And that’s despite the fact that for the first time, the filmmakers are working with a major star — Marion Cotillard, who’s previously played Edith Piaf and a glamorous Batman nemesis, but who here more or less disappears into mousy, insecure Sandra. Sandra who is stronger than she realizes, but who is in a really tense spot for every minute of those two days and one night.\u003c/p>\n\u003cfigure id=\"attachment_10269948\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/leviathan-d35b6636123d265dc20befe1dc40780c9b4c95cb-e1420242034129.jpg\" alt=\"Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10269948\">\u003cfigcaption class=\"wp-caption-text\">Aleksey Serebryakov is Kolya, whose despairing battle against the Russian state is well-lubricated with vodka.\u003c/figcaption>\u003c/figure>\n\u003cp>The Russian film \u003cem>Leviathan\u003c/em> is also about an individual bucking a system, but you’d be forgiven for thinking that it’s really about vodka. The plot centers on a hot-tempered mechanic named Kolya, who consumes enormous amounts of that most Russian of spirits even when things are going well, and when we meet him, things are not going well. He’s about to lose his waterfront home in a land dispute with the town’s crooked mayor. A hotshot lawyer buddy he has called in from Moscow has a plan involving blackmail, but the two of them are three sheets to the wind when the equally soused mayor shows up with his goons, shouting threats and insults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Although set in Bruno Dumont’s home region of northern France, \u003cem>L’il Quinquin\u003c/em> finds the writer-director in unexpected territory. The film is a arguably Dumont’s first comedy, and was made as a four-part TV miniseries.\u003c/p>\n\u003cp>Yet with its relaxed pacing, inconclusive plot and elegant widescreen cinematography, the movie doesn’t feel much like TV. And its humor is less a matter of overt gags than bemused attitude, which shows that the Dumont of \u003cem>Humanite\u003c/em> and \u003cem>Hors Satan\u003c/em> has barely relocated at all.\u003c/p>\n\u003cp>The story opens with mischievous Quinquin (Alane Delhaye), who looks to be around 10. He’s named for a 19th-century song that’s a sort of anthem for the remaining speakers of Picard, a vanishing language of the region. He sports a hearing aid and the sort of squashed, off-center nose usually seen only on boxers who’ve lost a few matches.\u003c/p>\n\u003cp>That schnoz is just the first of many remarkable physical characteristics. Dumont likes to work with nonprofessional actors, often cast for faces and bodies that exemplify human imperfection. This can verge on the exploitative, notably when the director employs (as he does here) people with obvious mental or neurological limitations.\u003c/p>\n\u003cp>The boy’s nose also suggests the history of violence written everywhere on the local landscape. Quinquin and girlfriend Eve (Lucy Carron) play around the abandoned seaside bunkers of World War II, where the boy searches for leftover bullets and grenades. None of the latter seem to be live, but Quinquin compensates by always being well-supplied with firecrackers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s inside one of the bunkers that a dead cow is found, apparently stuffed with parts of a dismembered local resident. The carcass is lifted from the underground chamber by a helicopter, recalling the opening of \u003cem>La Dolce Vita\u003c/em>, where an airborne statue of Jesus is flown out of Rome.\u003c/p>\n\u003cp>Enter Capt. Van der Weyden (Bernard Pruvost), a police detective. He’s a solemn yet silly figure, with a face for silent cinema. Rumpled and with ever-twitching eyebrows, Van der Weyden resembles a French Colombo, but without any hidden investigative acumen. He’s accompanied by Lt. Carpentier (Philippe Jore), who’s missing several prominent teeth.\u003c/p>\n\u003cp>Carpentier’s abiding passion is getting his patrol car to travel on just two wheels. With his references to literature and painting, Van der Weyden seems the more refined of the two. But he gets people’s attention by firing his gun randomly into the air, much as Quinquin startles bystanders with firecrackers.\u003c/p>\n\u003cp>The story peaks early, with the first homicide and its aftermath, a shambles of a funeral overseen by two inept priests while Quinquin, in altar boy robes, overdoes the incense. Rather than a funeral homily, the mourners hear an English-language pop song warbled by Eve’s older sister, who aspires to TV-talent-show renown.\u003c/p>\n\u003cp>Bodies — both human and bovine, sometimes intermingled — continue to materialize, yet Van der Weyden can’t discern the person or circumstance that connects them. Not that the stalled investigation is the cop’s fault. Dumont clearly has no interest in a standard murder-mystery narrative or a tidy payoff. That’s one reason \u003cem>L’il Quinquin\u003c/em> has been likened to \u003cem>Twin Peaks\u003c/em>.\u003c/p>\n\u003cp>Instead, Dumont stresses such quietly ridiculous details of local life as the importance of the marching band — Eve plays trumpet — and baton corps. More seriously, he turns his attention to racism and xenophobia: One of Quinquin’s self-assigned tasks is terrorizing boys of Arab and African descent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This is not funny stuff, but then Dumont isn’t after the sort of laughter that makes viewers feel better. His idea of the human comedy remains as grim as it is absurd. \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=Murder%2C+Cows+And+Bad+Funerals+In+The+Absurd+Comedy+Of+%27Li%27l+Quinquin%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although set in Bruno Dumont’s home region of northern France, \u003cem>L’il Quinquin\u003c/em> finds the writer-director in unexpected territory. The film is a arguably Dumont’s first comedy, and was made as a four-part TV miniseries.\u003c/p>\n\u003cp>Yet with its relaxed pacing, inconclusive plot and elegant widescreen cinematography, the movie doesn’t feel much like TV. And its humor is less a matter of overt gags than bemused attitude, which shows that the Dumont of \u003cem>Humanite\u003c/em> and \u003cem>Hors Satan\u003c/em> has barely relocated at all.\u003c/p>\n\u003cp>The story opens with mischievous Quinquin (Alane Delhaye), who looks to be around 10. He’s named for a 19th-century song that’s a sort of anthem for the remaining speakers of Picard, a vanishing language of the region. He sports a hearing aid and the sort of squashed, off-center nose usually seen only on boxers who’ve lost a few matches.\u003c/p>\n\u003cp>That schnoz is just the first of many remarkable physical characteristics. Dumont likes to work with nonprofessional actors, often cast for faces and bodies that exemplify human imperfection. This can verge on the exploitative, notably when the director employs (as he does here) people with obvious mental or neurological limitations.\u003c/p>\n\u003cp>The boy’s nose also suggests the history of violence written everywhere on the local landscape. Quinquin and girlfriend Eve (Lucy Carron) play around the abandoned seaside bunkers of World War II, where the boy searches for leftover bullets and grenades. None of the latter seem to be live, but Quinquin compensates by always being well-supplied with firecrackers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[\u003cem>This piece assumes you’ve seen the first four seasons of \u003c/em>Downton Abbey\u003cem>. As to the fifth, it avoids specific spoilers, but does talk about themes and threads enough that you might be 20 percent less surprised by a couple of developments. It’s the best balance I could strike.\u003c/em>]\u003c/p>\n\u003cp>Let us get this out of the way right off: Particularly after its first two seasons, \u003cem>Downton Abbey \u003c/em>has been enormously uneven. It’s satisfying in some moments, dull in others, and always prone to falling so in love with a particular story beat that it cannot move past it.\u003c/p>\n\u003cp>The season premiering in the U.S. on PBS on Sunday (and yes, lots of people still watch it on plain old television, and suggestions to the contrary say more about the limited social circle of the speaker than they do about technology) isn’t free of the repetition problem. 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Specifically, this is a season heavily interested in the choices — particularly the love lives and sex lives — of women of all ages and classes.\u003c/p>\n\u003cp>We have already seen the single Edith burdened by guilt because she became pregnant, to the point where she wound up in a scheme to place her daughter for adoption, but only halfway, neither able to live with the adoption nor able to acknowledge the child. But now, we will see the flip side, as another single woman considers whether sex before marriage is an integral part of determining compatibility — and how to avoid pregnancy as a consequence. We will see how partially evolved attitudes allow some men to want sex, have sex, and then look down on the women they have it with for having it with them. And we will continue to see, as we did last season, that while sexual violence has little to do with sexual feelings, a social failure to separate the two makes for victims of violence who bear their considerable burdens alone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We will see that love and sex — and emotions — do not end as going concerns at 40, at 50, or at 60. We will see women with grandchildren and even great-grandchildren deciding what to do about partners and friends. We will see women trying to figure out how to navigate a world of increased independence \u003cem>sort of\u003c/em>, in which they may make choices about striking out on their own at the risk of being treated as if they’re doing something impossibly silly.\u003c/p>\n\u003cp>The show has always featured plenty of sex — after all, the first season revolved largely around a corker of a potential scandal involving a guy dying in a bed where he wasn’t supposed to be. But this is much more interesting: sex as a part of life, used to contribute to conflicts and choices, rather than sex as an oh-my-goodness thing to be concealed.\u003c/p>\n\u003cp>What always makes \u003cem>Downton \u003c/em>so frustrating is that the show creates so many brilliant, shimmering moments of both high drama and deep feeling — it really does — while at the same time being glacially paced with regard to some stories and skittering and inattentive with others. At a macro level, it can be so very middling, while at a micro level, the performances are so spot-on and many of the relationships so sturdily built that individual scenes are as good as anything on television.\u003c/p>\n\u003cp>Truth be told, \u003cem>Downton \u003c/em>is much stronger with everything else than it is with romances, particularly since the departure of Dan Stevens as Matthew. Bates and Anna have long been trapped in a revolving door of misery that makes it honestly hard for them to do anything but grimace at each other, and the two suitors Mary began juggling last season felt more like cat toys than real prospects. Its best romance is barely one at all — the end of the fourth season found Mr. Carson and Mrs. Hughes lightly holding hands on the beach.\u003c/p>\n\u003cp>But, for instance, the loving exasperation that exists between Mrs. Patmore and Daisy is sweet and moving, as is the friendship between Tom and Mary, built largely on the unexpected single parenthood they have in common. Rob James-Collier has found nuance in Thomas Barrow, Evil Underbutler, who began as an almost pure villain and has emerged as a lonely person in pain who distracts himself with schemes. And the way Mary and Edith bring out each other’s worst qualities is sad and aggravating, but feels specific and earned.\u003c/p>\n\u003cp>I haven’t yet seen the Christmas special that caps the season, but I’ve seen the rest of it, and I did enjoy it quite a bit more than some recent chunks of the show. Maggie Smith blessedly has more to do than drop one-liners (though she does that too, of course), and there’s happily very little talk about the estate, for those of you who (like me) have been long bored by that. There is still a theme of change, certainly, but it’s expressed in the changes in particular people’s lives, as well as in general observations about things like the dwindling number of servants. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[\u003cem>This piece assumes you’ve seen the first four seasons of \u003c/em>Downton Abbey\u003cem>. As to the fifth, it avoids specific spoilers, but does talk about themes and threads enough that you might be 20 percent less surprised by a couple of developments. It’s the best balance I could strike.\u003c/em>]\u003c/p>\n\u003cp>Let us get this out of the way right off: Particularly after its first two seasons, \u003cem>Downton Abbey \u003c/em>has been enormously uneven. It’s satisfying in some moments, dull in others, and always prone to falling so in love with a particular story beat that it cannot move past it.\u003c/p>\n\u003cp>The season premiering in the U.S. on PBS on Sunday (and yes, lots of people still watch it on plain old television, and suggestions to the contrary say more about the limited social circle of the speaker than they do about technology) isn’t free of the repetition problem. We still find Edith in a state of angst, we still find Bates and Anna suffering nobly in the shadow of suspicion about something they didn’t do, and perhaps more interestingly, we find the widowed Mary Crawley echoing her first-season self more than ever: The selfish and insensitive edge that her relationship with Matthew smoothed down seems to have returned.\u003c/p>\n\u003cp>At the same time, there is a theme to the season, and it’s more than “rich people and poor people under one roof” (though that’s still present) and more than “change, change, change!” (though that’s still present, too). Specifically, this is a season heavily interested in the choices — particularly the love lives and sex lives — of women of all ages and classes.\u003c/p>\n\u003cp>We have already seen the single Edith burdened by guilt because she became pregnant, to the point where she wound up in a scheme to place her daughter for adoption, but only halfway, neither able to live with the adoption nor able to acknowledge the child. But now, we will see the flip side, as another single woman considers whether sex before marriage is an integral part of determining compatibility — and how to avoid pregnancy as a consequence. We will see how partially evolved attitudes allow some men to want sex, have sex, and then look down on the women they have it with for having it with them. And we will continue to see, as we did last season, that while sexual violence has little to do with sexual feelings, a social failure to separate the two makes for victims of violence who bear their considerable burdens alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We will see that love and sex — and emotions — do not end as going concerns at 40, at 50, or at 60. We will see women with grandchildren and even great-grandchildren deciding what to do about partners and friends. We will see women trying to figure out how to navigate a world of increased independence \u003cem>sort of\u003c/em>, in which they may make choices about striking out on their own at the risk of being treated as if they’re doing something impossibly silly.\u003c/p>\n\u003cp>The show has always featured plenty of sex — after all, the first season revolved largely around a corker of a potential scandal involving a guy dying in a bed where he wasn’t supposed to be. But this is much more interesting: sex as a part of life, used to contribute to conflicts and choices, rather than sex as an oh-my-goodness thing to be concealed.\u003c/p>\n\u003cp>What always makes \u003cem>Downton \u003c/em>so frustrating is that the show creates so many brilliant, shimmering moments of both high drama and deep feeling — it really does — while at the same time being glacially paced with regard to some stories and skittering and inattentive with others. At a macro level, it can be so very middling, while at a micro level, the performances are so spot-on and many of the relationships so sturdily built that individual scenes are as good as anything on television.\u003c/p>\n\u003cp>Truth be told, \u003cem>Downton \u003c/em>is much stronger with everything else than it is with romances, particularly since the departure of Dan Stevens as Matthew. Bates and Anna have long been trapped in a revolving door of misery that makes it honestly hard for them to do anything but grimace at each other, and the two suitors Mary began juggling last season felt more like cat toys than real prospects. Its best romance is barely one at all — the end of the fourth season found Mr. Carson and Mrs. Hughes lightly holding hands on the beach.\u003c/p>\n\u003cp>But, for instance, the loving exasperation that exists between Mrs. Patmore and Daisy is sweet and moving, as is the friendship between Tom and Mary, built largely on the unexpected single parenthood they have in common. Rob James-Collier has found nuance in Thomas Barrow, Evil Underbutler, who began as an almost pure villain and has emerged as a lonely person in pain who distracts himself with schemes. And the way Mary and Edith bring out each other’s worst qualities is sad and aggravating, but feels specific and earned.\u003c/p>\n\u003cp>I haven’t yet seen the Christmas special that caps the season, but I’ve seen the rest of it, and I did enjoy it quite a bit more than some recent chunks of the show. Maggie Smith blessedly has more to do than drop one-liners (though she does that too, of course), and there’s happily very little talk about the estate, for those of you who (like me) have been long bored by that. There is still a theme of change, certainly, but it’s expressed in the changes in particular people’s lives, as well as in general observations about things like the dwindling number of servants. Yes, you still are asked to invest in the lives of the very wealthy, but you’re asked to invest more in them as people, and less in them as Keepers Of A Certain Way Of Life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are moments in which people frustrated by the show’s tendency to move in lazy circles will say “Good grief, \u003cem>not this again\u003c/em>.” But there are also sneaky touches that reminded me, at least, of why I have at times enjoyed \u003cem>Downton \u003c/em>so much. \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+Madly+Uneven+%27Downton+Abbey%27+Turns+Its+Eye+From+Money+To+Sex&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Thomas Anderson probably wouldn’t take kindly to being called a period filmmaker. And it’s true that one of our finest pulse-takers of the American predicament is so much more than that. Anderson’s movies track warped obsessives who come to define the particular times and places from which they get the tarnished American Dreams they pursue.\u003c/p>\n\u003cp>But he is period-perfect, in part because he knows the terrain. In the fabulous \u003cem>Boogie Nights\u003c/em>, set in the booming 1970s porn-film industry in the San Fernando Valley where he grew up, Anderson captured the feel of a Southern California blessedly devoid of the usual Rodeo Drive shoppers or psychics hawking horoscopes on the Venice boardwalk. For him, noir visits nobodies who look like Adam Sandler or William H. Macy in sunny suburbs of Los Angeles County. Or, as in his new comedy, at the beach in the early 1970s, in the strange interregnum between the hippie moment and the “me” decade.\u003c/p>\n\u003cp>http://youtu.be/OUZgOQ186-A\u003c/p>\n\u003cp>\u003cem>Inherent Vice\u003c/em> unfolds in a period so mangled and maligned by Monday-morning cultural quarterbacking, it may never emerge from self-parody. It needs an interpretive revisit from Anderson. But where \u003cem>Boogie Nights \u003c/em>was an exuberant homage to the loony vitality of a community of hacks convinced they were making art, \u003cem>Inherent Vice\u003c/em> addresses a time that vitality forgot. Based on a 2009 novel by Thomas Pynchon, the action — an endless round of one step forward, two steps back, and wilting in place — rambles along in one of the countless beach towns that spread along the coast of Los Angeles. Such places, Manhattan or Redondo or Huntington Beach, became a haven for a backwash of refugees from a counterculture that promised freedom and creativity, then collapsed into apathy, disillusion and paranoia.\u003c/p>\n\u003cp>Spinning his wheels in this weird vacuum, we find private investigator and round-the-clock stoner Doc Sportello, who’s not a big stretch for Joaquin Phoenix, a vision in mutton-chop whiskers and unfortunate hair. In his vacant fashion, Doc is looking for his vanished ex-girlfriend Shasta (Katherine Waterston, wistful and full of seductive cunning), who came to him for help after getting mixed up with a shady real estate developer (Eric Roberts).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Following her trail, Doc tangles with a huge cast of strange bedfellows played by big movie stars in funny garb. Ideology has imploded. Black nationalists keep murky company with suited-up FBI agents, who may or may not be in cahoots with the police, represented (“after a long day of civil rights violations”) by a very funny Josh Brolin in a sensationally horrid buzz cut. There will be heroin, for sure. There may or may not be a cartel called Golden Fang. Beyond that, is someone out to get Doc or is it all in his addled head, suspended between a permanent high, grief for lost love, and the billowing paranoia he shares with everyone he meets?\u003c/p>\n\u003cp>Anderson gets so much contextually right here: The dreadful threads in which orange prevails, the red vinyl couches and mauve rug wallpaper; the bizarre, made-up names like Japonica, Sortilege, Shasta; the Ouija boards, the quacks and “spiritual coaches” fleecing customers with nothing left to prop them up but the tattered remnants of Eastern religions. Jonny Greenwood’s score, along with a soundtrack heavy with Neil Young, match the mood of low-key confusion punctuated with despair.\u003c/p>\n\u003cp>That may be the problem. I love Anderson’s ambition, but it is awfully hard to make a movie about a culture adrift that doesn’t make its audience feel the same. \u003cem>Inherent Vice\u003c/em> runs a punishing 148 minutes, not enough of which are funny or sad enough to hold us. The action bends this way and that; there are far too many reaction shots of Doc staring out of his undeniably beautiful violet eyes or pulling on a toke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Anderson tries to pull together the rambling dialogue and looping plot with a voice-over by Doc’s assistant (Joanna Newsom). But not every American tale has to approach epic, and as hard as it must have been to live through Doc’s nebulous moment, seeing it through from inside his head sometimes feels like forever. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+1970s%2C+Ugly+And+Adrift+In+%27Inherent+Vice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Following her trail, Doc tangles with a huge cast of strange bedfellows played by big movie stars in funny garb. Ideology has imploded. Black nationalists keep murky company with suited-up FBI agents, who may or may not be in cahoots with the police, represented (“after a long day of civil rights violations”) by a very funny Josh Brolin in a sensationally horrid buzz cut. There will be heroin, for sure. There may or may not be a cartel called Golden Fang. Beyond that, is someone out to get Doc or is it all in his addled head, suspended between a permanent high, grief for lost love, and the billowing paranoia he shares with everyone he meets?\u003c/p>\n\u003cp>Anderson gets so much contextually right here: The dreadful threads in which orange prevails, the red vinyl couches and mauve rug wallpaper; the bizarre, made-up names like Japonica, Sortilege, Shasta; the Ouija boards, the quacks and “spiritual coaches” fleecing customers with nothing left to prop them up but the tattered remnants of Eastern religions. Jonny Greenwood’s score, along with a soundtrack heavy with Neil Young, match the mood of low-key confusion punctuated with despair.\u003c/p>\n\u003cp>That may be the problem. I love Anderson’s ambition, but it is awfully hard to make a movie about a culture adrift that doesn’t make its audience feel the same. \u003cem>Inherent Vice\u003c/em> runs a punishing 148 minutes, not enough of which are funny or sad enough to hold us. The action bends this way and that; there are far too many reaction shots of Doc staring out of his undeniably beautiful violet eyes or pulling on a toke.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Anderson tries to pull together the rambling dialogue and looping plot with a voice-over by Doc’s assistant (Joanna Newsom). But not every American tale has to approach epic, and as hard as it must have been to live through Doc’s nebulous moment, seeing it through from inside his head sometimes feels like forever. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+1970s%2C+Ugly+And+Adrift+In+%27Inherent+Vice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Updated 'Annie' And The Tradition Of Nontraditional Casting",
"headTitle": "An Updated ‘Annie’ And The Tradition Of Nontraditional Casting | KQED",
"content": "\u003cp>That lovable moppet with the red dress, the curly hair, the big dog, and the even bigger voice is back.\u003c/p>\n\u003cp>This time, though, Little Orphan Annie is back with a difference: Quvenzhane Wallis is playing an African-American orphan in an ethnically diverse, up-to-date world. And that got us thinking about other instances where producers have breathed fresh life into familiar shows by making them dance to a new beat.\u003c/p>\n\u003cp>http://youtu.be/F6lNi7cZ-Ho\u003c/p>\n\u003cp>In the late 1960s, after 1,500 performances, Broadway’s \u003cem>Hello Dolly!\u003c/em> was still arguably “glowin'” and “crowin'” but was no longer “goin’ strong.” Carol Channing had long since departed with a touring company. And her first three replacements on the Great White Way — Ginger Rogers, Bette Grable and Martha Raye — had been playing to ever-diminishing crowds. Newer shows like \u003cem>Man of La Mancha\u003c/em> and \u003cem>Cabaret\u003c/em> were making \u003cem>Dolly\u003c/em> seem old hat.\u003c/p>\n\u003cp>Then producer David Merrick figured out how to make \u003cem>Dolly \u003c/em>the freshest face on the block. He hired not just a new star, but a whole new cast. A whole new black cast, at the height of the civil rights movement — Pearl Bailey, Cab Calloway, even a youngster named Morgan Freeman making his Broadway debut — and suddenly, his tired old warhorse looked new again\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Merrick was clear about one thing: This bright cartoon of a show was still a celebration of Yonkers, not Harlem — African-American only in casting, not in sensibility. What you saw with Pearl Bailey was what you’d seen with Carol Channing, and that seemed to please audiences, who lined up around the block.\u003c/p>\n\u003cp>Recasting an established show with performers of color was not a new idea in 1967. Broadway had done it before, though usually working a few changes on the original to justify the casting. Producer Billy Rose, for instance, was envious when \u003cem>Porgy and Bess\u003c/em> became a huge success in the 1930s for one of his competitors. How could he get a piece of that action? Maybe by adapting the opera \u003cem>Carmen\u003c/em> for a black Broadway cast. He hired Oscar Hammerstein, fresh from writing lyrics for \u003cem>Oklahoma,\u003c/em> to move the story from 19th-century Spain to the segregated American South, where the leading lady — now named Carmen Jones — worked in a World War II parachute factory. Happily she still sang music by Georges Bizet.\u003c/p>\n\u003cp>\u003cem>Carmen Jones\u003c/em> qualified as a thoughtful reworking of its source material in terms of story. But not all producers have the patience for that. Some just update the orchestrations — a revival of \u003cem>Guys and Dolls \u003c/em>in the 1970s started out with Broadway brass, but quickly let you know that it was a disco era staging partly financed by Motown.\u003c/p>\n\u003cp>Didn’t take long for audiences to figure out that was not a good idea. Other revivals, though, have taken far greater liberties. Gilbert and Sullivan’s \u003cem>Mikado,\u003c/em> for instance, had sounded the same for 40 years. Then in the 1930s, an all-black \u003cem>Swing Mikado\u003c/em> and a mostly black \u003cem>Hot Mikado,\u003c/em> starring Bill “Bojangles” Robinson, started bopping to a different, swinging beat.\u003c/p>\n\u003cp>Call this a case of cultural bait and switch if you like, but note that it does not seriously alter the original. At least, not the way \u003cem>Romeo and Juliet\u003c/em> was altered when it was both musicalized and Hispanicized as \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>Leaving the script alone, but hiring actors of color to play roles that usually go to white performers — “nontraditional” casting — has long been a stage tradition, not just in musicals, but in straight plays too. That tradition put a 20-year-old kid named Orson Welles on the map when he first leapt from acting to directing, with a production that became known as his “voodoo” \u003cem>Macbeth\u003c/em>.\u003c/p>\n\u003cp>When Welles re-imagined Shakespeare’s Scottish tragedy in a Caribbean jungle, he envisioned a stage full of so many black characters, New York didn’t have enough professional black actors to play them. Didn’t matter — even with a largely amateur cast, the show electrified audiences and got raves from all but one of the city’s major critics. The one pan, though, by the \u003cem>Herald Tribune\u003c/em>‘s Percy Hammond, apparently distressed the cast, prompting one of the show’s African drummers to lay an elaborate voodoo curse on the reviewer. Welles reportedly found this amusing … until Hammond dropped dead of a heart attack 48 hours later.\u003c/p>\n\u003cp>Happier reviews — and happily, no deaths — have greeted non-Shakespearean examples of nontraditional casting, like James Earl Jones playing Big Daddy in \u003cem>Cat on a Hot Tin Roof\u003c/em> and Ruby Dee as the matriarch in an African-American \u003cem>Glass Menagerie\u003c/em>. And what works onstage has also worked on-screen. Rob Lowe and Jim Belushi were buddies in the film comedy \u003cem>About Last Night\u003c/em> in 1986.\u003c/p>\n\u003cp>Flash forward a couple of decades to this year, with Michael Ealy and Kevin Hart headlining an updated \u003cem>About Last Night\u003c/em>. The new one is set in Los Angeles and is a raucous good time, which the sweeter, sultrier Chicago-based original mostly was not. Diff’rent strokes as it were, and proof that Hollywood can work some interesting variations on the remake game. Which is certainly what’s happening in the updated \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>The new version isn’t just pleasantly diverse in its casting; it’s been pretty thoroughly rethought — little things like including recycling in the orphanage cleanup number “A Hard Knock Life,” and bigger things like having Annie’s benefactor be not a disinterested Daddy Warbucks but a billionaire turned politician who’s been told by his campaign manager that the photogenic foster kid will bring him higher poll numbers.\u003c/p>\n\u003cp>In short, this is not just a matter of changing the racial makeup of a few characters. Yes, there is nontraditional casting, and no, the new \u003cem>Annie\u003c/em> is not a full-fledged rewrite, like \u003cem>The Wiz\u003c/em> was of \u003cem>The Wizard of Oz\u003c/em>. Instead, it occupies an intriguing middle ground, teasing new values from a show that had once traded mostly in nostalgia.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>What kind of new values? Well, specifically smart ones: The story now starts in a classroom and ends with the founding of a literacy center. How’s that for a declaration that the intent is to smarten things up? And by listing Jay Z as one of their producers, the filmmakers are also signaling that their smartening will not sound like warmed-over Broadway. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=An+Updated+%27Annie%27+And+The+Tradition+Of+Nontraditional+Casting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As an African-American Annie arrives on movie screens, critic Bob Mondello looks at other cross-cultural reinventions, from Pearl Bailey's Dolly to the Americanization of \u003cem>Carmen\u003c/em> as \u003cem>Carmen Jones.\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That lovable moppet with the red dress, the curly hair, the big dog, and the even bigger voice is back.\u003c/p>\n\u003cp>This time, though, Little Orphan Annie is back with a difference: Quvenzhane Wallis is playing an African-American orphan in an ethnically diverse, up-to-date world. And that got us thinking about other instances where producers have breathed fresh life into familiar shows by making them dance to a new beat.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F6lNi7cZ-Ho'\n title='//www.youtube.com/embed/F6lNi7cZ-Ho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the late 1960s, after 1,500 performances, Broadway’s \u003cem>Hello Dolly!\u003c/em> was still arguably “glowin'” and “crowin'” but was no longer “goin’ strong.” Carol Channing had long since departed with a touring company. And her first three replacements on the Great White Way — Ginger Rogers, Bette Grable and Martha Raye — had been playing to ever-diminishing crowds. Newer shows like \u003cem>Man of La Mancha\u003c/em> and \u003cem>Cabaret\u003c/em> were making \u003cem>Dolly\u003c/em> seem old hat.\u003c/p>\n\u003cp>Then producer David Merrick figured out how to make \u003cem>Dolly \u003c/em>the freshest face on the block. He hired not just a new star, but a whole new cast. A whole new black cast, at the height of the civil rights movement — Pearl Bailey, Cab Calloway, even a youngster named Morgan Freeman making his Broadway debut — and suddenly, his tired old warhorse looked new again\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Merrick was clear about one thing: This bright cartoon of a show was still a celebration of Yonkers, not Harlem — African-American only in casting, not in sensibility. What you saw with Pearl Bailey was what you’d seen with Carol Channing, and that seemed to please audiences, who lined up around the block.\u003c/p>\n\u003cp>Recasting an established show with performers of color was not a new idea in 1967. Broadway had done it before, though usually working a few changes on the original to justify the casting. Producer Billy Rose, for instance, was envious when \u003cem>Porgy and Bess\u003c/em> became a huge success in the 1930s for one of his competitors. How could he get a piece of that action? Maybe by adapting the opera \u003cem>Carmen\u003c/em> for a black Broadway cast. He hired Oscar Hammerstein, fresh from writing lyrics for \u003cem>Oklahoma,\u003c/em> to move the story from 19th-century Spain to the segregated American South, where the leading lady — now named Carmen Jones — worked in a World War II parachute factory. Happily she still sang music by Georges Bizet.\u003c/p>\n\u003cp>\u003cem>Carmen Jones\u003c/em> qualified as a thoughtful reworking of its source material in terms of story. But not all producers have the patience for that. Some just update the orchestrations — a revival of \u003cem>Guys and Dolls \u003c/em>in the 1970s started out with Broadway brass, but quickly let you know that it was a disco era staging partly financed by Motown.\u003c/p>\n\u003cp>Didn’t take long for audiences to figure out that was not a good idea. Other revivals, though, have taken far greater liberties. Gilbert and Sullivan’s \u003cem>Mikado,\u003c/em> for instance, had sounded the same for 40 years. Then in the 1930s, an all-black \u003cem>Swing Mikado\u003c/em> and a mostly black \u003cem>Hot Mikado,\u003c/em> starring Bill “Bojangles” Robinson, started bopping to a different, swinging beat.\u003c/p>\n\u003cp>Call this a case of cultural bait and switch if you like, but note that it does not seriously alter the original. At least, not the way \u003cem>Romeo and Juliet\u003c/em> was altered when it was both musicalized and Hispanicized as \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cp>Leaving the script alone, but hiring actors of color to play roles that usually go to white performers — “nontraditional” casting — has long been a stage tradition, not just in musicals, but in straight plays too. That tradition put a 20-year-old kid named Orson Welles on the map when he first leapt from acting to directing, with a production that became known as his “voodoo” \u003cem>Macbeth\u003c/em>.\u003c/p>\n\u003cp>When Welles re-imagined Shakespeare’s Scottish tragedy in a Caribbean jungle, he envisioned a stage full of so many black characters, New York didn’t have enough professional black actors to play them. Didn’t matter — even with a largely amateur cast, the show electrified audiences and got raves from all but one of the city’s major critics. The one pan, though, by the \u003cem>Herald Tribune\u003c/em>‘s Percy Hammond, apparently distressed the cast, prompting one of the show’s African drummers to lay an elaborate voodoo curse on the reviewer. Welles reportedly found this amusing … until Hammond dropped dead of a heart attack 48 hours later.\u003c/p>\n\u003cp>Happier reviews — and happily, no deaths — have greeted non-Shakespearean examples of nontraditional casting, like James Earl Jones playing Big Daddy in \u003cem>Cat on a Hot Tin Roof\u003c/em> and Ruby Dee as the matriarch in an African-American \u003cem>Glass Menagerie\u003c/em>. And what works onstage has also worked on-screen. Rob Lowe and Jim Belushi were buddies in the film comedy \u003cem>About Last Night\u003c/em> in 1986.\u003c/p>\n\u003cp>Flash forward a couple of decades to this year, with Michael Ealy and Kevin Hart headlining an updated \u003cem>About Last Night\u003c/em>. The new one is set in Los Angeles and is a raucous good time, which the sweeter, sultrier Chicago-based original mostly was not. Diff’rent strokes as it were, and proof that Hollywood can work some interesting variations on the remake game. Which is certainly what’s happening in the updated \u003cem>Annie\u003c/em>.\u003c/p>\n\u003cp>The new version isn’t just pleasantly diverse in its casting; it’s been pretty thoroughly rethought — little things like including recycling in the orphanage cleanup number “A Hard Knock Life,” and bigger things like having Annie’s benefactor be not a disinterested Daddy Warbucks but a billionaire turned politician who’s been told by his campaign manager that the photogenic foster kid will bring him higher poll numbers.\u003c/p>\n\u003cp>In short, this is not just a matter of changing the racial makeup of a few characters. Yes, there is nontraditional casting, and no, the new \u003cem>Annie\u003c/em> is not a full-fledged rewrite, like \u003cem>The Wiz\u003c/em> was of \u003cem>The Wizard of Oz\u003c/em>. Instead, it occupies an intriguing middle ground, teasing new values from a show that had once traded mostly in nostalgia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What kind of new values? Well, specifically smart ones: The story now starts in a classroom and ends with the founding of a literacy center. How’s that for a declaration that the intent is to smarten things up? And by listing Jay Z as one of their producers, the filmmakers are also signaling that their smartening will not sound like warmed-over Broadway. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=An+Updated+%27Annie%27+And+The+Tradition+Of+Nontraditional+Casting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Top Five': A Good, Not Great, Day In New York With Chris Rock",
"headTitle": "‘Top Five’: A Good, Not Great, Day In New York With Chris Rock | KQED",
"content": "\u003cp>Chris Rock has been on a tear — a widely shared \u003ca href=\"http://www.vulture.com/2014/11/chris-rock-frank-rich-in-conversation.html\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with Frank Rich in \u003cem>New York Magazine\u003c/em>, a widely shared guest \u003ca href=\"http://www.hollywoodreporter.com/news/top-five-filmmaker-chris-rock-753223\" target=\"_blank\" rel=\"noopener\">column\u003c/a> in \u003cem>The Hollywood Reporter\u003c/em>, interviews with Audie Cornish on \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/12/05/368723685/chris-rock-on-standup-sellouts-and-defining-success\" target=\"_blank\" rel=\"noopener\">All Things Considered\u003c/a>, Terry Gross on \u003ca href=\"http://www.npr.org/2014/12/08/368753758/chris-rock-on-finding-the-line-between-funny-and-too-far\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a> and Jesse Thorn on \u003ca href=\"http://www.maximumfun.org/bullseye/bullseye-jesse-thorn-chris-rock-john-cleese-scott-aukerman\" target=\"_blank\" rel=\"noopener\">Bullseye\u003c/a>. And those are just a few of the many conversations he’s had surrounding the release of his new film, \u003cem>Top Five\u003c/em>, which he wrote and directed.\u003c/p>\n\u003cp>http://youtu.be/jejCmmawzLY\u003c/p>\n\u003cp>In a lot of those discussions, Rock has had a lot to say about race in Hollywood, race in general, the atmosphere surrounding comedy, the intersection of some of these things with gender and class, and a whole lot of other pretty provocative things. So it might be that I went into the film primed to be more interested in what it had to say about the industry than in its central love story.\u003c/p>\n\u003cp>\u003cem>Top Five \u003c/em>follows a comic movie star, Andre Allen (Rock), as he spends a day being interviewed by Chelsea, a beautiful reporter from \u003cem>The New York Times\u003c/em>, played by Rosario Dawson. Early on, they have a fascinating and tense relationship, marked by distrust and the blend of false and real intimacy that develops as she interviews him for her story. Allen is about to marry a Bravo reality star (Gabrielle Union) in a splashy, highly publicized event, and he’s simultaneously promoting his first serious film, a drama about a slave rebellion.\u003c/p>\n\u003cp>The best parts of the film lie in its industry satire: its portrayal of the terrible rote interviews that take place at junkets, its sharp eye for the bad questions asked by lazy entertainment reporters, and little details like the satellite radio engineer — played by straight-up genius Brian Regan — who tries to goad Allen into being more painfully wacky while doing station promos. Rock is great at giving Andre’s frustration a genuinely pained edge, alternately funny and not, and that comes both from his performance and from his careful maintenance, as the director, of the balance in the film’s tone between goofy comedy and a comedic presentation of some of the same observed and thoughtful criticism he’s been offering in the press in recent weeks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, there are quite a number of good performers in small roles, including but certainly not limited to Kevin Hart and J.B. Smoove as members of Andre’s team, Cedric the Entertainer as a guy he encounters at a particularly bad time, and few folks playing themselves with gusto in cameos. Gabrielle Union is both very funny and oddly sympathetic as a woman whose life has become a gross pageant she now believes it only makes sense to continue making.\u003c/p>\n\u003cp>What’s disappointing is that what begins as an unconventional relationship of uneasy respect between Andre and Chelsea eventually turns, as I kept hoping it wouldn’t, into a much more conventional and much less interesting road to possible romance. Her boyfriend is dispensed with by way of a hackneyed plot device, and the two of them then are given a thoroughly implausible reason to fight, and by the end, it felt like the movie Rock cared about more had been abandoned in favor of this story that doesn’t have nearly the same tension or attention to detail. Dawson is excellent, particularly in the early scenes: their chemistry is such that just the two of them talking would be a perfectly good movie, like \u003cem>Before Sunrise. \u003c/em>But something is gradually lost as she becomes a much more run-of-the-mill love interest with much less to say.\u003c/p>\n\u003cp>To be clear, Rock doesn’t have a special obligation to do social criticism in his movie just because he’s been doing it in the press; it’s more that the film gets all its energy from satire that’s strong in the beginning and loses steam as he goes. And the romance that’s ramped up to provide the movie with a direction in its final act is conventional and undercooked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to watch Chris Rock; it’s just fun. And there are parts of this film where it’s fun to watch him in exactly the ways he wants it to be. (I don’t happen to think the movie’s abundant super-raunchy jokes are as funny as it thinks they are, but opinions on that will vary.) But there is a story here about Andre’s tenuous professional and personal situation that I think I wanted to see more than I wanted to see a romance between these particular people. The movie makes for an enjoyable enough day in New York with good company, but by the end, it’s lagging. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Top+Five%27%3A+A+Good%2C+Not+Great%2C+Day+In+New+York+With+Chris+Rock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chris Rock has been on a tear — a widely shared \u003ca href=\"http://www.vulture.com/2014/11/chris-rock-frank-rich-in-conversation.html\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with Frank Rich in \u003cem>New York Magazine\u003c/em>, a widely shared guest \u003ca href=\"http://www.hollywoodreporter.com/news/top-five-filmmaker-chris-rock-753223\" target=\"_blank\" rel=\"noopener\">column\u003c/a> in \u003cem>The Hollywood Reporter\u003c/em>, interviews with Audie Cornish on \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/12/05/368723685/chris-rock-on-standup-sellouts-and-defining-success\" target=\"_blank\" rel=\"noopener\">All Things Considered\u003c/a>, Terry Gross on \u003ca href=\"http://www.npr.org/2014/12/08/368753758/chris-rock-on-finding-the-line-between-funny-and-too-far\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a> and Jesse Thorn on \u003ca href=\"http://www.maximumfun.org/bullseye/bullseye-jesse-thorn-chris-rock-john-cleese-scott-aukerman\" target=\"_blank\" rel=\"noopener\">Bullseye\u003c/a>. And those are just a few of the many conversations he’s had surrounding the release of his new film, \u003cem>Top Five\u003c/em>, which he wrote and directed.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jejCmmawzLY'\n title='//www.youtube.com/embed/jejCmmawzLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a lot of those discussions, Rock has had a lot to say about race in Hollywood, race in general, the atmosphere surrounding comedy, the intersection of some of these things with gender and class, and a whole lot of other pretty provocative things. So it might be that I went into the film primed to be more interested in what it had to say about the industry than in its central love story.\u003c/p>\n\u003cp>\u003cem>Top Five \u003c/em>follows a comic movie star, Andre Allen (Rock), as he spends a day being interviewed by Chelsea, a beautiful reporter from \u003cem>The New York Times\u003c/em>, played by Rosario Dawson. Early on, they have a fascinating and tense relationship, marked by distrust and the blend of false and real intimacy that develops as she interviews him for her story. Allen is about to marry a Bravo reality star (Gabrielle Union) in a splashy, highly publicized event, and he’s simultaneously promoting his first serious film, a drama about a slave rebellion.\u003c/p>\n\u003cp>The best parts of the film lie in its industry satire: its portrayal of the terrible rote interviews that take place at junkets, its sharp eye for the bad questions asked by lazy entertainment reporters, and little details like the satellite radio engineer — played by straight-up genius Brian Regan — who tries to goad Allen into being more painfully wacky while doing station promos. Rock is great at giving Andre’s frustration a genuinely pained edge, alternately funny and not, and that comes both from his performance and from his careful maintenance, as the director, of the balance in the film’s tone between goofy comedy and a comedic presentation of some of the same observed and thoughtful criticism he’s been offering in the press in recent weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, there are quite a number of good performers in small roles, including but certainly not limited to Kevin Hart and J.B. Smoove as members of Andre’s team, Cedric the Entertainer as a guy he encounters at a particularly bad time, and few folks playing themselves with gusto in cameos. Gabrielle Union is both very funny and oddly sympathetic as a woman whose life has become a gross pageant she now believes it only makes sense to continue making.\u003c/p>\n\u003cp>What’s disappointing is that what begins as an unconventional relationship of uneasy respect between Andre and Chelsea eventually turns, as I kept hoping it wouldn’t, into a much more conventional and much less interesting road to possible romance. Her boyfriend is dispensed with by way of a hackneyed plot device, and the two of them then are given a thoroughly implausible reason to fight, and by the end, it felt like the movie Rock cared about more had been abandoned in favor of this story that doesn’t have nearly the same tension or attention to detail. Dawson is excellent, particularly in the early scenes: their chemistry is such that just the two of them talking would be a perfectly good movie, like \u003cem>Before Sunrise. \u003c/em>But something is gradually lost as she becomes a much more run-of-the-mill love interest with much less to say.\u003c/p>\n\u003cp>To be clear, Rock doesn’t have a special obligation to do social criticism in his movie just because he’s been doing it in the press; it’s more that the film gets all its energy from satire that’s strong in the beginning and loses steam as he goes. And the romance that’s ramped up to provide the movie with a direction in its final act is conventional and undercooked.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s fun to watch Chris Rock; it’s just fun. And there are parts of this film where it’s fun to watch him in exactly the ways he wants it to be. (I don’t happen to think the movie’s abundant super-raunchy jokes are as funny as it thinks they are, but opinions on that will vary.) But there is a story here about Andre’s tenuous professional and personal situation that I think I wanted to see more than I wanted to see a romance between these particular people. The movie makes for an enjoyable enough day in New York with good company, but by the end, it’s lagging. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Top+Five%27%3A+A+Good%2C+Not+Great%2C+Day+In+New+York+With+Chris+Rock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Major studios once churned out scores of great-person biographical pictures. But now you rarely see them except during awards season. They’re prime Oscar bait. The new Stephen Hawking biopic, \u003cem>The Theory Of Everything,\u003c/em> is a perfect specimen. It’s a letdown, finally, but Eddie Redmayne is amazingly tough. He captures the fury inside Hawking’s twisted frame.\u003c/p>\n\u003cp>And then there’s \u003cem>The Imitation Game\u003c/em>, which Benedict Cumberbatch lifts far above the standard biopic formula. He’s award-caliber strange. He plays the proto-computer genius, World War II code breaker and gay martyr Alan Turing and has the perfect visage for it, with his alien reptile face and hemisphere-wide blue eyes. They could conceivably see patterns and possibilities the rest of us can’t glimpse. Human interactions are more of a challenge for Turing. Today, we might diagnose him with Asperger’s syndrome, but then he just seemed arrogant. Cumberbatch, as is his wont, gives this indifference to social niceties a comic spin in early scenes. Only later will it have a tragic dimension.\u003c/p>\n\u003cp>http://youtu.be/S5CjKEFb-sM\u003c/p>\n\u003cp>\u003cem>The Imitation Game\u003c/em> begins in the 1950s when a police detective summons the squirrelly Turing for questioning. He thinks Turing is a spy. But Turing’s secretiveness is, of course, the result of his homosexuality, considered almost as heinous back then. The bulk of the film is a flashback to the war when the British are having their heads handed to them by the Germans. The Nazis communicate via something called the Enigma machine. And no one is close to cracking the code it generates.\u003c/p>\n\u003cp>Cumberbatch is the one freaky touch in an otherwise conventional movie. But those conventions, in this case, work handsomely. Graham Moore’s script is smart and shapely, the direction, by Morten Tyldum, brisk. At Bletchley Park, Turing promptly alienates his colleagues, but then he finds an ally in Joan Clarke, played by Keira Knightley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve read most of the book on which \u003cem>The Imitation Game\u003c/em> is based, Andrew Hodges’s \u003cem>Alan Turing: The Enigma,\u003c/em> but the math was so far beyond me. I felt unworthy. The movie is nowhere near so complex. It streamlines the code breaking like mad and doesn’t throw enough credit to other Bletchley figures. But the gist is right. Turing spends months tinkering on a machine he calls Christopher, named for something we learn late in the film, something heartbreaking. Turing’s achievements and everything about Bletchley Park only came out three decades later. When Turing was tried for so-called deviance, no one knew he was a hero.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a final scene between Turing and Joan I doubt happened, but this is a biopic. Someone in the film needs to remind him of his worth at his lowest ebb. The film’s most disturbing irony is that Turing broke the world’s toughest code, but never cracked the code of behavior that would’ve given him the life he richly deserved. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Benedict+Cumberbatch+Lifts+Above+Biopic+Formula+In+%27Imitation+Game%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Major studios once churned out scores of great-person biographical pictures. But now you rarely see them except during awards season. They’re prime Oscar bait. The new Stephen Hawking biopic, \u003cem>The Theory Of Everything,\u003c/em> is a perfect specimen. It’s a letdown, finally, but Eddie Redmayne is amazingly tough. He captures the fury inside Hawking’s twisted frame.\u003c/p>\n\u003cp>And then there’s \u003cem>The Imitation Game\u003c/em>, which Benedict Cumberbatch lifts far above the standard biopic formula. He’s award-caliber strange. He plays the proto-computer genius, World War II code breaker and gay martyr Alan Turing and has the perfect visage for it, with his alien reptile face and hemisphere-wide blue eyes. They could conceivably see patterns and possibilities the rest of us can’t glimpse. Human interactions are more of a challenge for Turing. Today, we might diagnose him with Asperger’s syndrome, but then he just seemed arrogant. Cumberbatch, as is his wont, gives this indifference to social niceties a comic spin in early scenes. Only later will it have a tragic dimension.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S5CjKEFb-sM'\n title='//www.youtube.com/embed/S5CjKEFb-sM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Imitation Game\u003c/em> begins in the 1950s when a police detective summons the squirrelly Turing for questioning. He thinks Turing is a spy. But Turing’s secretiveness is, of course, the result of his homosexuality, considered almost as heinous back then. The bulk of the film is a flashback to the war when the British are having their heads handed to them by the Germans. The Nazis communicate via something called the Enigma machine. And no one is close to cracking the code it generates.\u003c/p>\n\u003cp>Cumberbatch is the one freaky touch in an otherwise conventional movie. But those conventions, in this case, work handsomely. Graham Moore’s script is smart and shapely, the direction, by Morten Tyldum, brisk. At Bletchley Park, Turing promptly alienates his colleagues, but then he finds an ally in Joan Clarke, played by Keira Knightley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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