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"content": "\u003cp>Tom Magliozzi, one of public radio’s most popular personalities, \u003ca href=\"360340663\" target=\"_blank\" rel=\"noopener\">died on Monday \u003c/a>of complications from Alzheimer’s disease. He was 77 years old.\u003c/p>\n\u003cp>Tom and his brother, Ray, became famous as “Click and Clack the Tappet Brothers” on the weekly NPR show \u003cem>Car Talk\u003c/em>. They bantered, told jokes, laughed and sometimes even gave pretty good advice to listeners who called in with their car troubles.\u003c/p>\n\u003cp>If there was one thing that defined Tom Magliozzi, it was his laugh. It was loud, it was constant, it was infectious.\u003c/p>\n\u003cp>“His laugh is the working definition of infectious laughter,” says Doug Berman, the longtime producer of \u003cem>Car Talk.\u003c/em> He remembers the first time he ever encountered Magliozzi.\u003c/p>\n\u003cp>“Before I ever met him, I heard him, and it wasn’t on the air,” he recalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Berman was the news director of WBUR at the time.\u003c/p>\n\u003cp>“I’d just hear this laughter,” he says. “And then there’d be more of it, and people would sort of gather around him. He was just kind of a magnet.”\u003c/p>\n\u003cfigure id=\"attachment_10145010\" class=\"wp-caption alignright\" style=\"max-width: 593px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/tom14-4962556abf3f64005697dd1a6a66f5ec7e367556.jpg\" alt=\"Tom (right) and Ray grew up great friends despite a 12-year gap between them. Both graduated from MIT before going into the car repair business.\" width=\"593\" height=\"445\" class=\"size-full wp-image-10145010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tom14-4962556abf3f64005697dd1a6a66f5ec7e367556.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tom14-4962556abf3f64005697dd1a6a66f5ec7e367556-400x300.jpg 400w\" sizes=\"(max-width: 593px) 100vw, 593px\">\u003cfigcaption class=\"wp-caption-text\">Tom (right) and Ray grew up great friends despite a 12-year gap between them. Both graduated from MIT before going into the car repair business.\u003c/figcaption>\u003c/figure>\n\u003cp>The Magliozzi brothers grew up in a tough neighborhood of East Cambridge, Mass., in a close-knit Italian family. Tom was 12 years older, the beloved older brother to Ray. They liked to act like they were just a couple of regular guys who happened to be mechanics, but both of them graduated from MIT.\u003c/p>\n\u003cp>After getting out of college, Tom Magliozzi went to work as an engineer. One day he had a kind of epiphany, he told graduates when he and Ray gave the \u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0CCMQtwIwAQ&url=http%3A%2F%2Fvideo.mit.edu%2Fwatch%2F1999-mit-commencement-exercises-raymond-and-thomas-magliozzi-guest-speakers-6713%2F&ei=Z0JEVP6YJM6wyATgl4CgDA&usg=AFQjCNHYLQ5STMLcWaeyXI5Ys-dLtIJwwg&bvm=bv.77648437,d.aWw\">1999 commencement address\u003c/a> at their alma mater.\u003c/p>\n\u003cp>He was on his way to work when he had a near-fatal accident with a tractor-trailer. He pulled off the road and decided to do something different with his life.\u003c/p>\n\u003cp>“I quit my job,” he said. “I became a bum. I spent two years sitting in Harvard Square drinking coffee. I invented the concept of the do-it-yourself auto repair shop, and I met my lovely wife.”\u003c/p>\n\u003cp>Well, he wasn’t exactly a bum; he worked as a consultant and college professor, eventually getting a doctoral degree in marketing. And Tom and Ray Magliozzi did open that do-it-yourself repair shop in the early ’70s. They called it Hackers Heaven. Later they opened a more traditional car repair shop called the Good News Garage.\u003c/p>\n\u003cp>They got into radio by accident when someone from the local public radio station, WBUR, was putting together a panel of car mechanics for a talk show.\u003c/p>\n\u003cp>“They called Ray, and Ray thought it was a dumb idea, so he said, ‘I’ll send my brother’ and Tom thought, ‘Great, I’ll get out of breaking my knuckles for a couple of hours.’ And he went over and he was the only one who showed up,” Berman says.\u003c/p>\n\u003cp>Berman says the station liked what Tom did and asked him to come back the next week. This time he brought Ray. The rest, as they say, is history.\u003c/p>\n\u003cp>In 1987 \u003cem>Car Talk\u003c/em> went national on NPR. The Magliozzi brothers were a huge success. Listeners loved their blend of humor, passion, expertise and just plain silliness.\u003c/p>\n\u003cp>When it came to cars, Berman says the brothers really did know what they were talking about. But, he says, that’s not why people listen to the show.\u003c/p>\n\u003cp>“I think it has very little to do with cars,” he says. “It’s the guys’ personalities. And Tom especially — really a genius. With a great, facile mind. And he’s mischievous. He likes to prod people into honesty.”\u003c/p>\n\u003cp>It is almost impossible to talk about Tom Magliozzi without talking about Ray. Berman says the affection you heard on the radio dated back to their childhood — and it was real.\u003c/p>\n\u003cp>“For Ray, he idolized Tom. This is the guy who introduced him to everything in life, and Tom liked having his little brother around,” Berman says. “He liked the guy. So when they grew up they were really, really great friends.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tom and Ray haven’t done the show live for two years; \u003cem>Car Talk\u003c/em> has been airing archives of old shows. Berman says Ray would like to continue doing that, as a tribute to his brother. \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=Tom+Magliozzi%2C+Popular+Co-Host+Of+NPR%27s+%27Car+Talk%2C%27+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Berman was the news director of WBUR at the time.\u003c/p>\n\u003cp>“I’d just hear this laughter,” he says. “And then there’d be more of it, and people would sort of gather around him. He was just kind of a magnet.”\u003c/p>\n\u003cfigure id=\"attachment_10145010\" class=\"wp-caption alignright\" style=\"max-width: 593px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/tom14-4962556abf3f64005697dd1a6a66f5ec7e367556.jpg\" alt=\"Tom (right) and Ray grew up great friends despite a 12-year gap between them. Both graduated from MIT before going into the car repair business.\" width=\"593\" height=\"445\" class=\"size-full wp-image-10145010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tom14-4962556abf3f64005697dd1a6a66f5ec7e367556.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/tom14-4962556abf3f64005697dd1a6a66f5ec7e367556-400x300.jpg 400w\" sizes=\"(max-width: 593px) 100vw, 593px\">\u003cfigcaption class=\"wp-caption-text\">Tom (right) and Ray grew up great friends despite a 12-year gap between them. Both graduated from MIT before going into the car repair business.\u003c/figcaption>\u003c/figure>\n\u003cp>The Magliozzi brothers grew up in a tough neighborhood of East Cambridge, Mass., in a close-knit Italian family. Tom was 12 years older, the beloved older brother to Ray. 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I invented the concept of the do-it-yourself auto repair shop, and I met my lovely wife.”\u003c/p>\n\u003cp>Well, he wasn’t exactly a bum; he worked as a consultant and college professor, eventually getting a doctoral degree in marketing. And Tom and Ray Magliozzi did open that do-it-yourself repair shop in the early ’70s. They called it Hackers Heaven. Later they opened a more traditional car repair shop called the Good News Garage.\u003c/p>\n\u003cp>They got into radio by accident when someone from the local public radio station, WBUR, was putting together a panel of car mechanics for a talk show.\u003c/p>\n\u003cp>“They called Ray, and Ray thought it was a dumb idea, so he said, ‘I’ll send my brother’ and Tom thought, ‘Great, I’ll get out of breaking my knuckles for a couple of hours.’ And he went over and he was the only one who showed up,” Berman says.\u003c/p>\n\u003cp>Berman says the station liked what Tom did and asked him to come back the next week. This time he brought Ray. The rest, as they say, is history.\u003c/p>\n\u003cp>In 1987 \u003cem>Car Talk\u003c/em> went national on NPR. The Magliozzi brothers were a huge success. Listeners loved their blend of humor, passion, expertise and just plain silliness.\u003c/p>\n\u003cp>When it came to cars, Berman says the brothers really did know what they were talking about. But, he says, that’s not why people listen to the show.\u003c/p>\n\u003cp>“I think it has very little to do with cars,” he says. “It’s the guys’ personalities. And Tom especially — really a genius. With a great, facile mind. And he’s mischievous. He likes to prod people into honesty.”\u003c/p>\n\u003cp>It is almost impossible to talk about Tom Magliozzi without talking about Ray. Berman says the affection you heard on the radio dated back to their childhood — and it was real.\u003c/p>\n\u003cp>“For Ray, he idolized Tom. 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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the \u003ci>All Things Considered\u003c/i> story.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_halloween_horrorthons_and_all_night_fright_fests_a_remembrance_.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halloween’s rolled around again and yeah, yeah, it’s a dark and stormy night. The road’s washed out, phone’s gone dead, the mystic’s reading her ouija board, and zombies are popping through doorways left open by a demented kewpie doll.\u003c/p>\n\u003cp>Been there. Seen that. Got the t-shirt.\u003c/p>\n\u003cp>In fact, I very nearly designed a t-shirt for this sort of stuff back in the 1970s, before I was a movie critic. My first gig out of college was doing publicity for Roth Theaters, a mid-size, DC-based theater chain that got gobbled up in the ’80s by a bigger circuit. My boss was Paul Roth, an old-school movie guy who by the time I met him had probably forgotten more about showmanship than I’ll ever know.\u003c/p>\n\u003cp>We staged weddings in the aisle for a movie called \u003cem>The Bride\u003c/em> (patrons threw popcorn instead of rice). We dressed a verrrry short usher one December as \u003cem>E.T.\u003c/em>, and then added a beard and tasseled red hat so he could be Santa’s Helper. And for the opening of \u003cem>Airplane!\u003c/em>, an usher and I climbed up on a marquee to attach the back half of a plane fuselage I’d found at a junkyard so it looked like it had crashed into the theater. We knew we were getting the look right when a passing motorist screeched to a halt, leapt from his car, and yelled “is everyone okay?”\u003c/p>\n\u003cp>But the most fun we had was promoting Roth’s drive-in theaters, especially when audiences dwindled as the weather turned cold. Halloween was both a challenge and an opportunity for drive-ins: Obviously the right place for scares, but hard to find new films for when there was a chill in the air. So Paul dug deep in the B-movie horror vaults, and showed me how to sell the sizzle, not the steak.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the kind of ad copy he favored (writing it was the first radio writing I ever did). Imagine a booming voice with lots of echo effects, thunder crashes and screams between phrases.\u003c/p>\n\u003cp>“Friday Night at the Ranch Drive In: Our Dusk-to-Dawn Halloween Horrorthon! An all-night fright-fest with Five — count-’em FIVE(!) — full-length features. Shuddering spectres guaranteed to scare you shout-less! Films so terrifying we can’t reveal the titles. But we can say this: No one with a heart condition will be admitted. We’ll have nurses in attendance … and a hearse standing by.”\u003c/p>\n\u003cp>Man, I used to \u003cem>love\u003c/em> writing copy like that. Years later, when John Goodman played a ’60s horror guy in the movie \u003cem>Matinee\u003c/em>, wiring theater seats to deliver electric shocks at scary moments, I felt like I was watching my boss.\u003c/p>\n\u003cp>These days, when you go to a scary movie, you see a scary movie. And no question, the scares are scarier now. It’s all up there on screen. But the old horror-thons (and terror-ramas, which were horror-thons, but sexy) had their charms, too.\u003c/p>\n\u003cp>I still remember Paul showing me how a little red food coloring in the popcorn oil could turn a bucket of popcorn into a BUCKET OF BLOOD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kinda gross, right? But the point was to scare the “yell” out of you, and for the most part, we did. \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=Remembering+All+Night+Fright+Fests+And+Halloween+Horrorthons&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the \u003ci>All Things Considered\u003c/i> story.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_halloween_horrorthons_and_all_night_fright_fests_a_remembrance_.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Halloween’s rolled around again and yeah, yeah, it’s a dark and stormy night. The road’s washed out, phone’s gone dead, the mystic’s reading her ouija board, and zombies are popping through doorways left open by a demented kewpie doll.\u003c/p>\n\u003cp>Been there. Seen that. Got the t-shirt.\u003c/p>\n\u003cp>In fact, I very nearly designed a t-shirt for this sort of stuff back in the 1970s, before I was a movie critic. My first gig out of college was doing publicity for Roth Theaters, a mid-size, DC-based theater chain that got gobbled up in the ’80s by a bigger circuit. My boss was Paul Roth, an old-school movie guy who by the time I met him had probably forgotten more about showmanship than I’ll ever know.\u003c/p>\n\u003cp>We staged weddings in the aisle for a movie called \u003cem>The Bride\u003c/em> (patrons threw popcorn instead of rice). We dressed a verrrry short usher one December as \u003cem>E.T.\u003c/em>, and then added a beard and tasseled red hat so he could be Santa’s Helper. And for the opening of \u003cem>Airplane!\u003c/em>, an usher and I climbed up on a marquee to attach the back half of a plane fuselage I’d found at a junkyard so it looked like it had crashed into the theater. We knew we were getting the look right when a passing motorist screeched to a halt, leapt from his car, and yelled “is everyone okay?”\u003c/p>\n\u003cp>But the most fun we had was promoting Roth’s drive-in theaters, especially when audiences dwindled as the weather turned cold. Halloween was both a challenge and an opportunity for drive-ins: Obviously the right place for scares, but hard to find new films for when there was a chill in the air. So Paul dug deep in the B-movie horror vaults, and showed me how to sell the sizzle, not the steak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the kind of ad copy he favored (writing it was the first radio writing I ever did). Imagine a booming voice with lots of echo effects, thunder crashes and screams between phrases.\u003c/p>\n\u003cp>“Friday Night at the Ranch Drive In: Our Dusk-to-Dawn Halloween Horrorthon! An all-night fright-fest with Five — count-’em FIVE(!) — full-length features. Shuddering spectres guaranteed to scare you shout-less! Films so terrifying we can’t reveal the titles. But we can say this: No one with a heart condition will be admitted. We’ll have nurses in attendance … and a hearse standing by.”\u003c/p>\n\u003cp>Man, I used to \u003cem>love\u003c/em> writing copy like that. Years later, when John Goodman played a ’60s horror guy in the movie \u003cem>Matinee\u003c/em>, wiring theater seats to deliver electric shocks at scary moments, I felt like I was watching my boss.\u003c/p>\n\u003cp>These days, when you go to a scary movie, you see a scary movie. And no question, the scares are scarier now. It’s all up there on screen. But the old horror-thons (and terror-ramas, which were horror-thons, but sexy) had their charms, too.\u003c/p>\n\u003cp>I still remember Paul showing me how a little red food coloring in the popcorn oil could turn a bucket of popcorn into a BUCKET OF BLOOD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kinda gross, right? But the point was to scare the “yell” out of you, and for the most part, we did. \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=Remembering+All+Night+Fright+Fests+And+Halloween+Horrorthons&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Nightcrawler' Jake Gyllenhaal: We're All Complicit In 'If It Bleeds, It Leads'",
"headTitle": "‘Nightcrawler’ Jake Gyllenhaal: We’re All Complicit In ‘If It Bleeds, It Leads’ | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>All Things Considered\u003c/i> interview.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_nightcrawler_jake_gyllenhaal_were_all_complicit_in_if_it_bleeds_it_leads.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The last time NPR’s Audie Cornish spoke with Jake Gyllenhaal it was \u003ca href=\"http://www.npr.org/2013/11/08/243777022/jake-gyllenhaal-going-after-whats-real\" target=\"_blank\" rel=\"noopener\">in the fall of 2013\u003c/a>. They met on the set of the film \u003cem>Nightcrawler, \u003c/em>and at the time, the tabloids were talking about how much weight he’d lost for the role. Cornish remembers he was gaunt, his blue eyes were sunken in — and he didn’t blink.\u003c/p>\n\u003cp>“When you met me I was not wholly aware of how I was behaving,” he tells Cornish a year later. “Probably because I had put myself through certain things. In a weird way thought I was normal, but according to you — not so much.”\u003c/p>\n\u003cp>http://youtu.be/u1uP_8VJkDQ\u003c/p>\n\u003cp>Once you see \u003cem>Nightcrawler,\u003c/em> that makes a lot of sense. In it, Gyllenhaal plays Lou Bloom — hungry and prowling the lamp-lit streets of Los Angeles. He stumbles on work as a freelance cameraman for a TV station with an “if it bleeds, it leads” ethos.\u003c/p>\n\u003cp>Gyllenhaal says what sticks with him is the way that his character deploys the cheery language of self-help guides even as he tries to break into a business built on misery. Gyllenhaal says he memorized the script and it’s now ingrained in his memory. He easily recites the film’s first speech:\u003c/p>\n\u003cblockquote>\n\u003cp>“Excuse me, sir. I’m looking for a job. In fact, I’ve made my mind up to find a career that I can learn and grow into. Who am I? I’m a hard worker, I set high goals and I’ve been told that I’m persistent. Now I’m not feeling myself, sir. Having been raised with the self-esteem movement so popular in schools, I used to expect my needs to be considered. But I know that today’s work culture no longer caters to the job loyalty that could be promised to earlier generations.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On paper it doesn’t look so bad, “but out in the world — taking a few morals out of the equation — it can be pretty dangerous,” Gyllenhaal says. “He speaks like a real entrepreneur; he speaks like a very successful entrepreneur. I mean, there is nothing he says in this movie that I don’t agree with. I agree with everything this character says in one way or another. It’s what he does that I don’t necessarily agree with.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the business of real “night crawlers”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think [the business of being a freelancer is] maybe more robust than ever. I went on the streets of LA with two brothers — they’re called stringers, really, who do this job — spent a number of nights with them. …\u003c/p>\n\u003cp>What I saw was — and this is why I think the idea of blame, or whatever, on who does the job or what it is doesn’t make sense to me — because what I saw was a great innocence, kind of childlike play. And that was a key for me in finding the character.\u003c/p>\n\u003cp>\u003cstrong>On what it’s like to be the first to arrive at the scene of an accident\u003c/strong>\u003c/p>\n\u003cp>It does get dangerous here. … Being a young kid — going out in the backyard, climbing trees, setting fires — is not a very different feeling to what you feel when you’re with these guys. There’s a thrill, particularly on the way to the unknown. As you venture with them into the night and then you get a call, you don’t know what you’re going to be seeing. And there’s a terror there. But you can feel from them an excitement, too.\u003c/p>\n\u003cp>\u003cstrong>On the audience voyeurism fueling the demand for this type of footage\u003c/strong>\u003c/p>\n\u003cp>I really feel like there’s something very primal about the slowing down at an accident scene. And it’s in those feelings that some people find great success in the work and Lou happens to be one of those people. But I think he’s enabled by Rene Russo’s character, Nina, who is editing and buying his footage. And she is then, in turn, enabled by the station heads and they are enabled by us [the audience].\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because you can blame anybody, but I think, really, there is no blame; we’re all complicit. And a lot of people leave the movie saying, “Wow, what a ride.” And there are a whole slew, a whole spectrum of response to it — all of which, kind of leading back to oneself and how complicit the individual is in creating someone like Lou. \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=%27Nightcrawler%27+Jake+Gyllenhaal%3A+We%27re+All+Complicit+In+%27If+It+Bleeds%2C+It+Leads%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>All Things Considered\u003c/i> interview.\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/10/20141030_atc_nightcrawler_jake_gyllenhaal_were_all_complicit_in_if_it_bleeds_it_leads.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>The last time NPR’s Audie Cornish spoke with Jake Gyllenhaal it was \u003ca href=\"http://www.npr.org/2013/11/08/243777022/jake-gyllenhaal-going-after-whats-real\" target=\"_blank\" rel=\"noopener\">in the fall of 2013\u003c/a>. They met on the set of the film \u003cem>Nightcrawler, \u003c/em>and at the time, the tabloids were talking about how much weight he’d lost for the role. Cornish remembers he was gaunt, his blue eyes were sunken in — and he didn’t blink.\u003c/p>\n\u003cp>“When you met me I was not wholly aware of how I was behaving,” he tells Cornish a year later. “Probably because I had put myself through certain things. In a weird way thought I was normal, but according to you — not so much.”\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/u1uP_8VJkDQ'\n title='//www.youtube.com/embed/u1uP_8VJkDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once you see \u003cem>Nightcrawler,\u003c/em> that makes a lot of sense. In it, Gyllenhaal plays Lou Bloom — hungry and prowling the lamp-lit streets of Los Angeles. He stumbles on work as a freelance cameraman for a TV station with an “if it bleeds, it leads” ethos.\u003c/p>\n\u003cp>Gyllenhaal says what sticks with him is the way that his character deploys the cheery language of self-help guides even as he tries to break into a business built on misery. Gyllenhaal says he memorized the script and it’s now ingrained in his memory. He easily recites the film’s first speech:\u003c/p>\n\u003cblockquote>\n\u003cp>“Excuse me, sir. I’m looking for a job. In fact, I’ve made my mind up to find a career that I can learn and grow into. Who am I? I’m a hard worker, I set high goals and I’ve been told that I’m persistent. Now I’m not feeling myself, sir. Having been raised with the self-esteem movement so popular in schools, I used to expect my needs to be considered. But I know that today’s work culture no longer caters to the job loyalty that could be promised to earlier generations.”\u003c/p>\n\u003c/blockquote>\n\u003cp>On paper it doesn’t look so bad, “but out in the world — taking a few morals out of the equation — it can be pretty dangerous,” Gyllenhaal says. “He speaks like a real entrepreneur; he speaks like a very successful entrepreneur. I mean, there is nothing he says in this movie that I don’t agree with. I agree with everything this character says in one way or another. It’s what he does that I don’t necessarily agree with.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the business of real “night crawlers”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think [the business of being a freelancer is] maybe more robust than ever. I went on the streets of LA with two brothers — they’re called stringers, really, who do this job — spent a number of nights with them. …\u003c/p>\n\u003cp>What I saw was — and this is why I think the idea of blame, or whatever, on who does the job or what it is doesn’t make sense to me — because what I saw was a great innocence, kind of childlike play. And that was a key for me in finding the character.\u003c/p>\n\u003cp>\u003cstrong>On what it’s like to be the first to arrive at the scene of an accident\u003c/strong>\u003c/p>\n\u003cp>It does get dangerous here. … Being a young kid — going out in the backyard, climbing trees, setting fires — is not a very different feeling to what you feel when you’re with these guys. There’s a thrill, particularly on the way to the unknown. As you venture with them into the night and then you get a call, you don’t know what you’re going to be seeing. And there’s a terror there. But you can feel from them an excitement, too.\u003c/p>\n\u003cp>\u003cstrong>On the audience voyeurism fueling the demand for this type of footage\u003c/strong>\u003c/p>\n\u003cp>I really feel like there’s something very primal about the slowing down at an accident scene. And it’s in those feelings that some people find great success in the work and Lou happens to be one of those people. But I think he’s enabled by Rene Russo’s character, Nina, who is editing and buying his footage. And she is then, in turn, enabled by the station heads and they are enabled by us [the audience].\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Because you can blame anybody, but I think, really, there is no blame; we’re all complicit. And a lot of people leave the movie saying, “Wow, what a ride.” And there are a whole slew, a whole spectrum of response to it — all of which, kind of leading back to oneself and how complicit the individual is in creating someone like Lou. \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=%27Nightcrawler%27+Jake+Gyllenhaal%3A+We%27re+All+Complicit+In+%27If+It+Bleeds%2C+It+Leads%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Listen Up Philip,' Literary Arrogance Stubbornly Refuses To Change",
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"content": "\u003cp>Alex Ross Perry has a knack for writing male characters with deep reservoirs of literary arrogance, and he has taken his talent to a new level with his intricately crafted film, \u003cem>Listen Up Philip\u003c/em>.\u003c/p>\n\u003cp>In his 2011 sophomore feature \u003cem>The Color Wheel,\u003c/em> Perry played Colin, who was a pathetic and ultimately forgivable version of this character type — literary only in aspiration, a jerk mostly due to lazy disposition. He’s no match for \u003cem>Listen Up Philip\u003c/em>‘s eponymous writer, played by Jason Schwartzman, nor for Philip’s mentor, the older celebrity author Ike Zimmerman (Jonathan Pryce). These two are quintessential self-righteous bloviators.\u003c/p>\n\u003cp>http://youtu.be/VrJ_yF5uWDI\u003c/p>\n\u003cp>The shift in characters is just one way in which Perry has taken a great step with \u003cem>Listen Up Philip\u003c/em>. On nearly every plane — its winding story structure, its cinematography (courtesy, as in Perry’s previous movies, of Sean Price Williams), and its thematic depth — Perry’s third film leaps beyond \u003cem>The Color Wheel\u003c/em>. That film used some radical brushstrokes to lightly distinguish itself from other films about artsy 20-somethings, but it nevertheless stuck largely to that genre’s familiar trappings and certainly to its prevailing tone of wry sarcasm.\u003c/p>\n\u003cp>\u003cem>Listen Up Philip\u003c/em>, meanwhile, begins with an immediately distinctive voice — that of the omniscient narrator (Eric Bogosian) who relates the story in a dense, intellectual and self-consciously expositional style. His tone is purposely but still irritatingly pompous. And at first that makes it easy to wonder, particularly once we’re introduced to the equally grating Philip, what world Perry has dropped us into and what possible reason there could be to spend time there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Philip has just published his second novel, an event that produces in him both a sense of superiority (he is \u003cem>suffering\u003c/em> for his \u003cem>art\u003c/em>, unlike his sellout friends) and a flood of self-pity (his work just isn’t good enough; it’s worthless, useless). The mix makes you wish Philip would begin writing his third novel straight away since, in his case, seeking out solitude would qualify as an act of generosity toward the world as well as a boon for his productivity.\u003c/p>\n\u003cp>Right on cue, Ike offers Philip just that kind of isolation when he invites him upstate to his cabin, where Ike’s daughter, Melanie (Krysten Ritter), also lives. Moving up there for the summer means Philip has to leave his girlfriend, Ashley (Elisabeth Moss), with whom he shares an apartment and who he treats much like he treats his work: with a mix of envy (her success as a photographer intimidates him) and contempt (he feels like she has ceased to care adequately about him and his writing).\u003c/p>\n\u003cp>At this point, \u003cem>Listen Up Philip\u003c/em>‘s narrative begins to surprise with sudden changes in itinerary. About a third of the way in, the film smoothly transitions from Philip’s perspective to Ashley’s, focusing on her as she recovers from Philip’s sudden departure. A third act later shines the spotlight on Ike.\u003c/p>\n\u003cp>The plot’s undulating movement offers a slow process of slackening and liberation. Both because of its tone and its heavy use of tight close-ups, the beginning of \u003cem>Listen Up Philip\u003c/em> constrains us in a shallow bubble of a world. The plot’s digressions, though, progressively create some much-needed breathing room.\u003c/p>\n\u003cp>Ashley’s segment is particularly important in this respect because it offers a moment of respite from Philip and Ike — one that, because Ashley is so comparatively decent as a human being, only helps emphasize their arrogance. Ashley’s gradual freedom from her relationship with Philip is ultimately a reminder to us as an audience not to take either him or Ike — who is just an older, reified version of Philip — too seriously.\u003c/p>\n\u003cp>That’s not to say that Perry abandons Philip and Ike, or that he even sidelines them. We may realize that these are insufferable people, but Perry returns to both, largely to continue revealing their desperation and their bad behavior.\u003c/p>\n\u003cp>The worst of Ike and Philip’s actions unintentionally recall \u003ca href=\"http://www.deathandtaxesmag.com/228916/on-sexism-sexual-assault-and-the-threat-of-the-non-bro/\">Robyn Pennacchia’s essay in \u003cem>Death and Taxes\u003c/em>\u003c/a> about the recent spate of sexual harassment accusations in American literary circles. What makes the latter events so seemingly surprising, Pennacchia writes, is the self-image of the communities in which they occurred, ones that are “primarily populated by men who think they are not ‘bros.’ Usually, they consider themselves intellectuals. … They are always the first to lock arms with you and rail against sexism coming from these \u003cem>other\u003c/em> types of men.”\u003c/p>\n\u003cp>Philip and Ike never commit any similarly criminal acts, but they nevertheless fit into the phenomenon that Pennacchia describes: The delusion of their self-righteousness and the protective grandeur it engenders is the same, and the victims of their sense of self-worth are the women in their lives, toward whom both feel a despicable sense of entitlement.\u003c/p>\n\u003cp>Nevertheless, Perry pushes himself and us to understand both men intimately. And it’s only through that process that the two, who start off merely as insufferable, become recognizable as villains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite Philip and Ike’s deep-set stubbornness, however, the experience of watching \u003cem>Listen Up Philip\u003c/em> feels like a revelation. That’s largely because, while telling a story about two characters who refuse to admit their wrongs and refuse to change, the film’s structure assures that we’re the ones — through our perspective and our feelings — who are shifting. In a film replete with magnificent achievements, this strikes as Perry’s most subtly masterful touch. \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=In+%27Listen+Up+Philip%2C%27+Literary+Arrogance+Stubbornly+Refuses+To+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alex Ross Perry has a knack for writing male characters with deep reservoirs of literary arrogance, and he has taken his talent to a new level with his intricately crafted film, \u003cem>Listen Up Philip\u003c/em>.\u003c/p>\n\u003cp>In his 2011 sophomore feature \u003cem>The Color Wheel,\u003c/em> Perry played Colin, who was a pathetic and ultimately forgivable version of this character type — literary only in aspiration, a jerk mostly due to lazy disposition. He’s no match for \u003cem>Listen Up Philip\u003c/em>‘s eponymous writer, played by Jason Schwartzman, nor for Philip’s mentor, the older celebrity author Ike Zimmerman (Jonathan Pryce). These two are quintessential self-righteous bloviators.\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/VrJ_yF5uWDI'\n title='//www.youtube.com/embed/VrJ_yF5uWDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The shift in characters is just one way in which Perry has taken a great step with \u003cem>Listen Up Philip\u003c/em>. On nearly every plane — its winding story structure, its cinematography (courtesy, as in Perry’s previous movies, of Sean Price Williams), and its thematic depth — Perry’s third film leaps beyond \u003cem>The Color Wheel\u003c/em>. That film used some radical brushstrokes to lightly distinguish itself from other films about artsy 20-somethings, but it nevertheless stuck largely to that genre’s familiar trappings and certainly to its prevailing tone of wry sarcasm.\u003c/p>\n\u003cp>\u003cem>Listen Up Philip\u003c/em>, meanwhile, begins with an immediately distinctive voice — that of the omniscient narrator (Eric Bogosian) who relates the story in a dense, intellectual and self-consciously expositional style. His tone is purposely but still irritatingly pompous. And at first that makes it easy to wonder, particularly once we’re introduced to the equally grating Philip, what world Perry has dropped us into and what possible reason there could be to spend time there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Philip has just published his second novel, an event that produces in him both a sense of superiority (he is \u003cem>suffering\u003c/em> for his \u003cem>art\u003c/em>, unlike his sellout friends) and a flood of self-pity (his work just isn’t good enough; it’s worthless, useless). The mix makes you wish Philip would begin writing his third novel straight away since, in his case, seeking out solitude would qualify as an act of generosity toward the world as well as a boon for his productivity.\u003c/p>\n\u003cp>Right on cue, Ike offers Philip just that kind of isolation when he invites him upstate to his cabin, where Ike’s daughter, Melanie (Krysten Ritter), also lives. Moving up there for the summer means Philip has to leave his girlfriend, Ashley (Elisabeth Moss), with whom he shares an apartment and who he treats much like he treats his work: with a mix of envy (her success as a photographer intimidates him) and contempt (he feels like she has ceased to care adequately about him and his writing).\u003c/p>\n\u003cp>At this point, \u003cem>Listen Up Philip\u003c/em>‘s narrative begins to surprise with sudden changes in itinerary. About a third of the way in, the film smoothly transitions from Philip’s perspective to Ashley’s, focusing on her as she recovers from Philip’s sudden departure. A third act later shines the spotlight on Ike.\u003c/p>\n\u003cp>The plot’s undulating movement offers a slow process of slackening and liberation. Both because of its tone and its heavy use of tight close-ups, the beginning of \u003cem>Listen Up Philip\u003c/em> constrains us in a shallow bubble of a world. The plot’s digressions, though, progressively create some much-needed breathing room.\u003c/p>\n\u003cp>Ashley’s segment is particularly important in this respect because it offers a moment of respite from Philip and Ike — one that, because Ashley is so comparatively decent as a human being, only helps emphasize their arrogance. Ashley’s gradual freedom from her relationship with Philip is ultimately a reminder to us as an audience not to take either him or Ike — who is just an older, reified version of Philip — too seriously.\u003c/p>\n\u003cp>That’s not to say that Perry abandons Philip and Ike, or that he even sidelines them. We may realize that these are insufferable people, but Perry returns to both, largely to continue revealing their desperation and their bad behavior.\u003c/p>\n\u003cp>The worst of Ike and Philip’s actions unintentionally recall \u003ca href=\"http://www.deathandtaxesmag.com/228916/on-sexism-sexual-assault-and-the-threat-of-the-non-bro/\">Robyn Pennacchia’s essay in \u003cem>Death and Taxes\u003c/em>\u003c/a> about the recent spate of sexual harassment accusations in American literary circles. What makes the latter events so seemingly surprising, Pennacchia writes, is the self-image of the communities in which they occurred, ones that are “primarily populated by men who think they are not ‘bros.’ Usually, they consider themselves intellectuals. … They are always the first to lock arms with you and rail against sexism coming from these \u003cem>other\u003c/em> types of men.”\u003c/p>\n\u003cp>Philip and Ike never commit any similarly criminal acts, but they nevertheless fit into the phenomenon that Pennacchia describes: The delusion of their self-righteousness and the protective grandeur it engenders is the same, and the victims of their sense of self-worth are the women in their lives, toward whom both feel a despicable sense of entitlement.\u003c/p>\n\u003cp>Nevertheless, Perry pushes himself and us to understand both men intimately. And it’s only through that process that the two, who start off merely as insufferable, become recognizable as villains.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite Philip and Ike’s deep-set stubbornness, however, the experience of watching \u003cem>Listen Up Philip\u003c/em> feels like a revelation. That’s largely because, while telling a story about two characters who refuse to admit their wrongs and refuse to change, the film’s structure assures that we’re the ones — through our perspective and our feelings — who are shifting. In a film replete with magnificent achievements, this strikes as Perry’s most subtly masterful touch. \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=In+%27Listen+Up+Philip%2C%27+Literary+Arrogance+Stubbornly+Refuses+To+Change&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Birdman’s\u003c/em> opening shot has a meteor flaring across a twilit sky — a dying star falling to earth being an apt first image for a movie about a film superhero who has flamed out.\u003c/p>\n\u003cp>The next shot shows what’s happened to him: ex-Birdman Riggan Thomson (played by ex-Batman Michael Keaton) facing away from the camera in yoga position in his dressing room at Broadway’s St. James Theater. As Riggan attempts a comeback on stage, director Alejandro Iñárritu’s camera will follow him, seemingly without a single edit for almost two hours, a stunt we’ll come back to. But first, let’s note one odd thing about the way Riggan is sitting. He is floating in lotus position, about 3 feet off the ground. One other oddity: In his head he hears his own accusing voice, amplified the way it was decades earlier when he was Birdman.\u003c/p>\n\u003cp>“How did we end up here?” the voice growls. “This place is horrible. Smells like balls. You were a movie star, remember?”\u003c/p>\n\u003cp>http://youtu.be/uJfLoE6hanc\u003c/p>\n\u003cp>Now, with the last bit of cash from that stardom, Riggan is producing his own Broadway adaptation of the Raymond Carver short story “What We Talk About When We Talk About Love,” directed by and starring himself. It’s what’s known in the trade as a vanity production — his possibly pregnant girlfriend (Andrea Riseborough) is in it, his stoner daughter (Emma Stone) is his personal assistant, his very nervous best friend (Zack Galifianakis) is stage manager. And after a — um, let’s go with “lucky” backstage accident, it’s a vanity production minus one co-star.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Happily, a stage star who’s just quit/been fired from another gig is almost literally waiting in the wings, having helped his girlfriend (Naomi Watts) learn her lines. And while he comes with his own baggage — where the original co-star couldn’t express emotions, Mike is constantly exploding — the play starts previews tomorrow, so what the hell.\u003c/p>\n\u003cp>This guy is played by Edward Norton, who is also an ex-superhero in real life (his Hulk, remember, had explosion issues), and the celebrity in-jokes don’t end with the casting. Keaton recounts a nightmare in which he’s upstaged at his own funeral by (wink, wink) George Clooney, and there are savagely funny swipes at critics, in-the-know observations about the price of fame, not to mention a nifty literary riff on that Carver short story Riggan has supposedly adapted for the stage, but that’s actually taking over his life. Read it before you go, and you’ll marvel at the film’s intricate plotting.\u003c/p>\n\u003cp>All part of the entertainingly complicated jigsaw puzzle Iñárritu has made of \u003cem>Birdman\u003c/em>. His full title is \u003cem>Birdman or (The Unexpected Virtue of Ignorance)\u003c/em>, but rest assured, the more you know, the more fun it’ll be — all real-life connections fodder for other connections as the film shreds time, fame, family and the difference between movie acting and stage acting. That one-continuous-tracking shot conceit is designed to split the difference, forcing the actors to play through long stretches — no cuts to protect them — as the camera zips after them down hallways, into theaters empty and full, and, at one deliriously funny point, out into a Times Square mobbed with celebrity-chasers. But it’s also a stupendously choreographed bit of camerawork, demanding not just for actors who must’ve been forever ducking into closets and behind furniture, but also for cinematographer Emmanuel Lubezki, the miracle worker who designed those breath-catchingly lengthy tracking shots in Alfonso Cuarón’s \u003cem>Children of Men\u003c/em>, and who figured out how to open \u003cem>Gravity\u003c/em> with a 14-minute tour-de-force single take in outer space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doing a whole movie this way isn’t unprecedented, of course. Hitchcock’s \u003cem>Rope\u003c/em> did it without digital trickery more than half a century ago. Still, it’s a great cinematic stunt, even when you think you’ve found the hidden edits. And it makes \u003cem>Birdman\u003c/em> as exhilarating a flight of fantasy as you’re likely to see anytime soon. \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=%27Birdman%27+Tracks+A+Comeback+In+%28Seemingly%29+One+Long+Take&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happily, a stage star who’s just quit/been fired from another gig is almost literally waiting in the wings, having helped his girlfriend (Naomi Watts) learn her lines. And while he comes with his own baggage — where the original co-star couldn’t express emotions, Mike is constantly exploding — the play starts previews tomorrow, so what the hell.\u003c/p>\n\u003cp>This guy is played by Edward Norton, who is also an ex-superhero in real life (his Hulk, remember, had explosion issues), and the celebrity in-jokes don’t end with the casting. Keaton recounts a nightmare in which he’s upstaged at his own funeral by (wink, wink) George Clooney, and there are savagely funny swipes at critics, in-the-know observations about the price of fame, not to mention a nifty literary riff on that Carver short story Riggan has supposedly adapted for the stage, but that’s actually taking over his life. Read it before you go, and you’ll marvel at the film’s intricate plotting.\u003c/p>\n\u003cp>All part of the entertainingly complicated jigsaw puzzle Iñárritu has made of \u003cem>Birdman\u003c/em>. His full title is \u003cem>Birdman or (The Unexpected Virtue of Ignorance)\u003c/em>, but rest assured, the more you know, the more fun it’ll be — all real-life connections fodder for other connections as the film shreds time, fame, family and the difference between movie acting and stage acting. That one-continuous-tracking shot conceit is designed to split the difference, forcing the actors to play through long stretches — no cuts to protect them — as the camera zips after them down hallways, into theaters empty and full, and, at one deliriously funny point, out into a Times Square mobbed with celebrity-chasers. But it’s also a stupendously choreographed bit of camerawork, demanding not just for actors who must’ve been forever ducking into closets and behind furniture, but also for cinematographer Emmanuel Lubezki, the miracle worker who designed those breath-catchingly lengthy tracking shots in Alfonso Cuarón’s \u003cem>Children of Men\u003c/em>, and who figured out how to open \u003cem>Gravity\u003c/em> with a 14-minute tour-de-force single take in outer space.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Doing a whole movie this way isn’t unprecedented, of course. Hitchcock’s \u003cem>Rope\u003c/em> did it without digital trickery more than half a century ago. Still, it’s a great cinematic stunt, even when you think you’ve found the hidden edits. And it makes \u003cem>Birdman\u003c/em> as exhilarating a flight of fantasy as you’re likely to see anytime soon. \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=%27Birdman%27+Tracks+A+Comeback+In+%28Seemingly%29+One+Long+Take&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "You Definitely Need this Condo Pony, and Other Products from 'SkyMaul'",
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"content": "\u003cp>If you’re midflight and the movie is terrible and the airline magazine crossword puzzle has already been done by someone else, the SkyMall\u003cem> \u003c/em>catalog is the time-killer of last resort for the bored, boxed-in passenger.\u003c/p>\n\u003cp>SkyMall sells items that, under normal circumstances, you might never consider — like say, adult-size, unisex, one-piece Superman pajamas. But somehow, midflight, you find yourself wondering: \u003cem>Do\u003c/em> I need a dog bed designed to look like an NCAA stadium?\u003c/p>\n\u003cfigure id=\"attachment_10144258\" class=\"wp-caption alignright\" style=\"max-width: 415px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\" alt=\""One of the main drawbacks of wind chimes is the irritating sound that they make. ... Our patented quiet wind chimes use noise-canceling technology to take the 'chime' out of wind chime ... giving you peace of mind."\" width=\"415\" height=\"228\" class=\"size-full wp-image-10144258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png 415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193-400x219.png 400w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“One of the main drawbacks of wind chimes is the irritating sound that they make. … Our patented quiet wind chimes use noise-canceling technology to take the ‘chime’ out of wind chime … giving you peace of mind.”\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years ago, the San Francisco-based comedy group Kasper Hauser published \u003ca href=\"http://www.npr.org/books/titles/357849708/skymaul-happy-crap-you-can-buy-from-the-plane\">Sky Maul: Happy Crap You Can Buy From The Plane\u003c/a>, a catalog full of products like the “Pepper Self Spray” and the “Da Vinci Code Decoder Ring.” And now comes \u003ca href=\"http://www.npr.org/books/titles/357838305/skymaul-2-where-america-buys-his-stuff\">Sky Maul 2: Where America Buys His Stuff\u003c/a>. Kasper Hauser members Rob Baedeker and James and John Reichmuth join NPR’s Robert Siegel to discuss some products that you can almost certainly live without.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On their home improvement products, like the Cave Repainting Set and the Condo Pony\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>James Reichmuth:\u003c/strong> You may know what a terrible graffiti problem they had in the Pleistocene Era. And many of Europe’s best caves have been defaced by stick figures. … We have come up with a cave repainting set which just allows you, very handily and easily, to paint over these old caves and get them baby, room, or man-cave-ready. Folks, those horses are just doodles — lighten up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Rob Baedeker:\u003c/strong> Designer pets are all the rage these days. Ours is called the Condo Pony. It’s a little horse that just kind of clomps around the condo. The motto is: \u003cem>Condo doesn’t have to mean no pony no more.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On the Forever Diaper\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144257\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\" alt=\""Never needs changing. Not once. ... Put this on when they're born, sit back, and watch the joy that every baby gives off."\" width=\"200\" height=\"136\" class=\"size-full wp-image-10144257\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Never needs changing. Not once. … Put this on when they’re born, sit back, and watch the joy that every baby gives off.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> One of the things we’re most excited about right now for new parents — and we worked with Russian scientists here, using blimp technology — is a — what we call — Forever Diaper. And that’s a diaper that you put on at birth and it, technically, can stay on until early adolescence. We say: Let’s take diapers off the table.\u003c/p>\n\u003cp>\u003cstrong>On the Personality Alert Bracelet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Most of us get into relationships of many types and it takes a long time to figure out the other person’s character flaws. So we’ve designed a personality alert bracelet. It lets first responders or first dates really know about your issues. Whether you are a narcissist … a martyr … a baby … it just cuts to the chase and just makes things much more efficient.\u003c/p>\n\u003cfigure id=\"attachment_10144260\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\" alt=\"Personality Alert\" width=\"200\" height=\"261\" class=\"size-full wp-image-10144260\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Personality Alert\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> I wear one of these. I’m wearing one now. It just says: Tuna makes me sleepy. … It’s just something that you want people that are close to you to know. So I wouldn’t eat tuna before an interview, for example, and I did not.\u003c/p>\n\u003cp>\u003cstrong>On SkyMall sometimes being funnier than SkyMaul\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> It is hard to out-SkyMall SkyMall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Reality is a little bit ahead of us. … It’s that American tradition of giving you things you never knew you needed. \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=You+Definitely+Need+This+Condo+Pony%2C+And+Other+Products+From+%27SkyMaul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re midflight and the movie is terrible and the airline magazine crossword puzzle has already been done by someone else, the SkyMall\u003cem> \u003c/em>catalog is the time-killer of last resort for the bored, boxed-in passenger.\u003c/p>\n\u003cp>SkyMall sells items that, under normal circumstances, you might never consider — like say, adult-size, unisex, one-piece Superman pajamas. But somehow, midflight, you find yourself wondering: \u003cem>Do\u003c/em> I need a dog bed designed to look like an NCAA stadium?\u003c/p>\n\u003cfigure id=\"attachment_10144258\" class=\"wp-caption alignright\" style=\"max-width: 415px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\" alt=\""One of the main drawbacks of wind chimes is the irritating sound that they make. ... Our patented quiet wind chimes use noise-canceling technology to take the 'chime' out of wind chime ... giving you peace of mind."\" width=\"415\" height=\"228\" class=\"size-full wp-image-10144258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png 415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193-400x219.png 400w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“One of the main drawbacks of wind chimes is the irritating sound that they make. … Our patented quiet wind chimes use noise-canceling technology to take the ‘chime’ out of wind chime … giving you peace of mind.”\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years ago, the San Francisco-based comedy group Kasper Hauser published \u003ca href=\"http://www.npr.org/books/titles/357849708/skymaul-happy-crap-you-can-buy-from-the-plane\">Sky Maul: Happy Crap You Can Buy From The Plane\u003c/a>, a catalog full of products like the “Pepper Self Spray” and the “Da Vinci Code Decoder Ring.” And now comes \u003ca href=\"http://www.npr.org/books/titles/357838305/skymaul-2-where-america-buys-his-stuff\">Sky Maul 2: Where America Buys His Stuff\u003c/a>. Kasper Hauser members Rob Baedeker and James and John Reichmuth join NPR’s Robert Siegel to discuss some products that you can almost certainly live without.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On their home improvement products, like the Cave Repainting Set and the Condo Pony\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>James Reichmuth:\u003c/strong> You may know what a terrible graffiti problem they had in the Pleistocene Era. And many of Europe’s best caves have been defaced by stick figures. … We have come up with a cave repainting set which just allows you, very handily and easily, to paint over these old caves and get them baby, room, or man-cave-ready. Folks, those horses are just doodles — lighten up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Rob Baedeker:\u003c/strong> Designer pets are all the rage these days. Ours is called the Condo Pony. It’s a little horse that just kind of clomps around the condo. The motto is: \u003cem>Condo doesn’t have to mean no pony no more.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On the Forever Diaper\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144257\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\" alt=\""Never needs changing. Not once. ... Put this on when they're born, sit back, and watch the joy that every baby gives off."\" width=\"200\" height=\"136\" class=\"size-full wp-image-10144257\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Never needs changing. Not once. … Put this on when they’re born, sit back, and watch the joy that every baby gives off.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> One of the things we’re most excited about right now for new parents — and we worked with Russian scientists here, using blimp technology — is a — what we call — Forever Diaper. And that’s a diaper that you put on at birth and it, technically, can stay on until early adolescence. We say: Let’s take diapers off the table.\u003c/p>\n\u003cp>\u003cstrong>On the Personality Alert Bracelet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Most of us get into relationships of many types and it takes a long time to figure out the other person’s character flaws. So we’ve designed a personality alert bracelet. It lets first responders or first dates really know about your issues. Whether you are a narcissist … a martyr … a baby … it just cuts to the chase and just makes things much more efficient.\u003c/p>\n\u003cfigure id=\"attachment_10144260\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\" alt=\"Personality Alert\" width=\"200\" height=\"261\" class=\"size-full wp-image-10144260\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Personality Alert\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> I wear one of these. I’m wearing one now. It just says: Tuna makes me sleepy. … It’s just something that you want people that are close to you to know. So I wouldn’t eat tuna before an interview, for example, and I did not.\u003c/p>\n\u003cp>\u003cstrong>On SkyMall sometimes being funnier than SkyMaul\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> It is hard to out-SkyMall SkyMall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Reality is a little bit ahead of us. … It’s that American tradition of giving you things you never knew you needed. \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=You+Definitely+Need+This+Condo+Pony%2C+And+Other+Products+From+%27SkyMaul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bill Murray Doesn't Do Much, But He Does It So Well In 'St. Vincent'",
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"content": "\u003cp>The grumpy geezer Bill Murray plays in Ted Melfi’s gentle comedy \u003cem>St. Vincent\u003c/em> is not exactly a stretch. Vincent is a down-on-his-luck gent festering in a falling-down row house on the butt end of Brooklyn. Familiar stuff happens: A little boy named Oliver with bowl-cut hair and a noticeably absent father moves in next door with his mother, Maggie (Melissa McCarthy).\u003c/p>\n\u003cp>Oliver, who’s played without undue cuteness by newcomer Jaeden Lieberher, is wise beyond his years, but puny and in need of help seeing off the school bully. Vincent is nobody’s idea of \u003cem>in loco parentis\u003c/em>, but he needs the babysitting money and can offer Oliver the school of life via lessons in self-defense, trips to the racetrack and dive bars, etc., etc.\u003c/p>\n\u003cp>In return, Oliver offers living proof that some kids possess innate resilience, common sense and optimism that function independently of the rotten things that life hands them.\u003c/p>\n\u003cp>http://youtu.be/9dP5lJnJHXg\u003c/p>\n\u003cp>Other kooks are fed into the mix to create a cobbled-together family of putative losers. Naomi Watts, in tacky dress and a creditable Russian accent as a pregnant hooker, sashays in for weekly appointments with Vincent. Chris O’Dowd is Oliver’s sympathetic Catholic-school priest, and Terrence Howard makes a none-too-sinister loan shark trying to collect from Vincent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Off to the side, there’s a pretty woman (Donna Mitchell) in assisted living whose relationship to Vincent signals the takeaway — which is that we don’t know anyone’s story, not really, until we get up close.\u003c/p>\n\u003cp>And even then, only if we’re allowed in. In this film we are.\u003c/p>\n\u003cp>\u003cem>St. Vincent\u003c/em> brings no fresh news. But the movie is sweet, kind and mostly crisply written. The round-the-clock aggravation and proximity to disaster that poverty brings is acutely observed, along with the persistent vitality of neglected neighborhoods and those who, willy-nilly, land in them.\u003c/p>\n\u003cp>Melfi provides Melissa McCarthy with a fine chance to do something other than throw herself around. She’s dandy at that too, but it’s a treat to watch her dial it down for a role that has nothing to do with her size or her precise gift for physical comedy. Here she’s a pretty great mother who has the smarts and the open mind to stop doing one big thing wrong for herself and her son.\u003c/p>\n\u003cp>There’s a long, probably improvised sequence to go with the end credits of \u003cem>St. Vincent\u003c/em>, with Murray sitting on a bench in Vincent’s yard, doing goofy things with a garden hose. Bob Dylan is involved, for slightly too obvious thematic reasons.\u003c/p>\n\u003cp>But even when disaster comes to Vincent in spades, Murray’s doing what he always does, which always looks as though it’s not much. He says his lines, lifts his eyebrows or his hands, palms up. Now and again he throws a hissy fit or falls down. Mostly, he lets things happen around him while occupying the movie’s center, patiently waiting for something to happen to show that he’s less disaffected than he seems.\u003c/p>\n\u003cp>I’ll be darned if I know what it is that Murray does with all this doing nothing, but somehow he’s also been the guy to make you believe in a television newscaster who wakes up to the same lousy Groundhog Day every day until Andie MacDowell rides to the rescue. More preposterous yet, he makes you suspend all disbelief that, in \u003cem>Lost in Translation\u003c/em>, a woman who looks like Scarlett Johansson could possibly fall for a depressive has-been who looks like Bill Murray.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can put Murray in a drama or a comedy or almost anything that isn’t too loud or too busy, and he’ll drain the goo without also ditching the humanity. In this instance, he’s the perfect guy to carry the movie’s pleasantly ordinary tune, which sings that saints are nothing but flawed people doing good. \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=Bill+Murray+Doesn%27t+Do+Much%2C+But+He+Does+It+So+Well+In+%27St.+Vincent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Off to the side, there’s a pretty woman (Donna Mitchell) in assisted living whose relationship to Vincent signals the takeaway — which is that we don’t know anyone’s story, not really, until we get up close.\u003c/p>\n\u003cp>And even then, only if we’re allowed in. In this film we are.\u003c/p>\n\u003cp>\u003cem>St. Vincent\u003c/em> brings no fresh news. But the movie is sweet, kind and mostly crisply written. The round-the-clock aggravation and proximity to disaster that poverty brings is acutely observed, along with the persistent vitality of neglected neighborhoods and those who, willy-nilly, land in them.\u003c/p>\n\u003cp>Melfi provides Melissa McCarthy with a fine chance to do something other than throw herself around. She’s dandy at that too, but it’s a treat to watch her dial it down for a role that has nothing to do with her size or her precise gift for physical comedy. Here she’s a pretty great mother who has the smarts and the open mind to stop doing one big thing wrong for herself and her son.\u003c/p>\n\u003cp>There’s a long, probably improvised sequence to go with the end credits of \u003cem>St. Vincent\u003c/em>, with Murray sitting on a bench in Vincent’s yard, doing goofy things with a garden hose. Bob Dylan is involved, for slightly too obvious thematic reasons.\u003c/p>\n\u003cp>But even when disaster comes to Vincent in spades, Murray’s doing what he always does, which always looks as though it’s not much. He says his lines, lifts his eyebrows or his hands, palms up. Now and again he throws a hissy fit or falls down. Mostly, he lets things happen around him while occupying the movie’s center, patiently waiting for something to happen to show that he’s less disaffected than he seems.\u003c/p>\n\u003cp>I’ll be darned if I know what it is that Murray does with all this doing nothing, but somehow he’s also been the guy to make you believe in a television newscaster who wakes up to the same lousy Groundhog Day every day until Andie MacDowell rides to the rescue. More preposterous yet, he makes you suspend all disbelief that, in \u003cem>Lost in Translation\u003c/em>, a woman who looks like Scarlett Johansson could possibly fall for a depressive has-been who looks like Bill Murray.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can put Murray in a drama or a comedy or almost anything that isn’t too loud or too busy, and he’ll drain the goo without also ditching the humanity. In this instance, he’s the perfect guy to carry the movie’s pleasantly ordinary tune, which sings that saints are nothing but flawed people doing good. \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=Bill+Murray+Doesn%27t+Do+Much%2C+But+He+Does+It+So+Well+In+%27St.+Vincent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the start of \u003cem>The Blue Room\u003c/em>, with its shots of wrinkled sheets in a recently vacated hotel room, it’s evident that Mathieu Amalric’s film will focus not strictly on the illicit affair between Julien (Amalric) and Esther (Stéphanie Cléau) but on the aftereffects of unfaithfulness and center not on seduction but on the consequences of seducing and being seduced.\u003c/p>\n\u003cp>In such a scenario, the trope of the mad mistress casts a long shadow — think \u003cem>Fatal Attraction \u003c/em>— as does that of the jealous, vengeful partner, who isn’t hard to find either in today’s theaters. Lying in bed, Esther repeatedly asks Julien variations on the question: “Could you spend your whole life with me?” So when she later begins sending him cryptic letters about their future together, you wonder whether a dead rabbit isn’t too far in the future.\u003c/p>\n\u003cp>http://youtu.be/AXru7gOWV-I\u003c/p>\n\u003cp>Esther’s obsessive qualities are really only hinted at, though, as is the jealousy of Julien’s wife, Delphine (Léa Drucker), which we suspect, in retrospect, only because another character asks Julien about it. Both are expectations, assumptions that Amalric and Cléau, who together adapted the script from Georges Simenon’s novel, coyly dance around but never outright confirm or dismiss. Instead, they allow the audience to slowly realize just how much the events in \u003cem>The Blue Room\u003c/em> are filtered through Julien’s experience, and then to understand that his perspective might be crucially flawed.\u003c/p>\n\u003cp>Julien is presented emphatically as a small man — looking plain and diminutive standing next to the tall and elegant Esther. And with every turn in the plot, every new threat that his secret will be exposed, he shrinks more, his face an increasingly pitiful mix of helplessness and anguish. He’s not an unreliable narrator, but because his demeanor is so pathetic, so seemingly harmless, our focus shifts to the events around him and to the growing sense of some unfortunate event certain to befall him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amalric helps us be carried in that direction, of course, using Grégoire Hetzel’s score to evoke Hitchcockian thrillers and ratcheting up anticipation of a big reveal with a plot that is as much a legal thriller as it is the story of a torrid affair. \u003cem>The Blue Room\u003c/em>‘s narrative jumps across time, flitting from the initiation of Julien and Esther’s affair to its direct aftermath to Julien’s testimony months later about an unspecified crime of which he is being accused.\u003c/p>\n\u003cp>\u003cem>The Blue Room\u003c/em> pieces together the details of its plot like a jigsaw puzzle, but seeing the final picture is not its principal pleasure. Instead, if for the first half you’re awaiting answers about what transpired between Delphine, Esther and Julien, much of what keeps the film compelling in its second hour is how revelations of small details shift the meaning of previous words and actions: What seemed like thoughtless pillow talk turns into criminal intentions; what seemed like unremarkable marital tension turns into dark premonitions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cumulative effect, though, is intriguingly anti-climactic. \u003cem>The Blue Room\u003c/em> ends on a decisive note, but the film doesn’t seem convinced of its own firm conclusion. One of the most striking qualities of the film is how little we really ever find out about Julien, or about the whole plot that has unraveled before us. As the credits roll, you may not be surprised at where you’ve ended up, but trying to look back at how you got there may make the path suddenly seem foggy. Amalric and Cléau are more than competent guides through the confusion, largely because they don’t throw us into it immediately but guide us in using our own expectations, beginning a process of recalibration that’s engrossing if not strictly illuminating. \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=In+%27The+Blue+Room%2C%27+An+Uncertain+Path+Through+An+Affair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the start of \u003cem>The Blue Room\u003c/em>, with its shots of wrinkled sheets in a recently vacated hotel room, it’s evident that Mathieu Amalric’s film will focus not strictly on the illicit affair between Julien (Amalric) and Esther (Stéphanie Cléau) but on the aftereffects of unfaithfulness and center not on seduction but on the consequences of seducing and being seduced.\u003c/p>\n\u003cp>In such a scenario, the trope of the mad mistress casts a long shadow — think \u003cem>Fatal Attraction \u003c/em>— as does that of the jealous, vengeful partner, who isn’t hard to find either in today’s theaters. Lying in bed, Esther repeatedly asks Julien variations on the question: “Could you spend your whole life with me?” So when she later begins sending him cryptic letters about their future together, you wonder whether a dead rabbit isn’t too far in the future.\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/AXru7gOWV-I'\n title='//www.youtube.com/embed/AXru7gOWV-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Esther’s obsessive qualities are really only hinted at, though, as is the jealousy of Julien’s wife, Delphine (Léa Drucker), which we suspect, in retrospect, only because another character asks Julien about it. Both are expectations, assumptions that Amalric and Cléau, who together adapted the script from Georges Simenon’s novel, coyly dance around but never outright confirm or dismiss. Instead, they allow the audience to slowly realize just how much the events in \u003cem>The Blue Room\u003c/em> are filtered through Julien’s experience, and then to understand that his perspective might be crucially flawed.\u003c/p>\n\u003cp>Julien is presented emphatically as a small man — looking plain and diminutive standing next to the tall and elegant Esther. And with every turn in the plot, every new threat that his secret will be exposed, he shrinks more, his face an increasingly pitiful mix of helplessness and anguish. He’s not an unreliable narrator, but because his demeanor is so pathetic, so seemingly harmless, our focus shifts to the events around him and to the growing sense of some unfortunate event certain to befall him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amalric helps us be carried in that direction, of course, using Grégoire Hetzel’s score to evoke Hitchcockian thrillers and ratcheting up anticipation of a big reveal with a plot that is as much a legal thriller as it is the story of a torrid affair. \u003cem>The Blue Room\u003c/em>‘s narrative jumps across time, flitting from the initiation of Julien and Esther’s affair to its direct aftermath to Julien’s testimony months later about an unspecified crime of which he is being accused.\u003c/p>\n\u003cp>\u003cem>The Blue Room\u003c/em> pieces together the details of its plot like a jigsaw puzzle, but seeing the final picture is not its principal pleasure. Instead, if for the first half you’re awaiting answers about what transpired between Delphine, Esther and Julien, much of what keeps the film compelling in its second hour is how revelations of small details shift the meaning of previous words and actions: What seemed like thoughtless pillow talk turns into criminal intentions; what seemed like unremarkable marital tension turns into dark premonitions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cumulative effect, though, is intriguingly anti-climactic. \u003cem>The Blue Room\u003c/em> ends on a decisive note, but the film doesn’t seem convinced of its own firm conclusion. One of the most striking qualities of the film is how little we really ever find out about Julien, or about the whole plot that has unraveled before us. As the credits roll, you may not be surprised at where you’ve ended up, but trying to look back at how you got there may make the path suddenly seem foggy. Amalric and Cléau are more than competent guides through the confusion, largely because they don’t throw us into it immediately but guide us in using our own expectations, beginning a process of recalibration that’s engrossing if not strictly illuminating. \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=In+%27The+Blue+Room%2C%27+An+Uncertain+Path+Through+An+Affair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bang The Drum Ever Faster In The Different Sports Arena Of 'Whiplash'",
"headTitle": "Bang The Drum Ever Faster In The Different Sports Arena Of ‘Whiplash’ | KQED",
"content": "\u003cp>\u003cem>Whiplash\u003c/em> is, in many ways, a companion film to \u003cem>The Social Network\u003c/em>. The similarities only begin with the film’s protagonist Andrew (Miles Teller), a first-year jazz drummer at the highly competitive Schaffer music conservatory, who shares both the compulsive drive and the unpolished social skills of Jesse Eisenberg’s Mark Zuckerberg.\u003c/p>\n\u003cp>Unlike Zuckerberg, Andrew doesn’t start off as a jerk. \u003cem>Whiplash\u003c/em>‘s\u003cem> \u003c/em>writer-director, Damien Chazelle, lets him grow into one instead. Andrew is self-effacing to start, but he gains confidence when he comes under the tutelage of Schaffer’s dictatorial studio band conductor, Fletcher (J.K. Simmons). And when Andrew tells his girlfriend, Nicole (Melissa Benoist), that they have to break up because she will be a distraction to his work, a hindrance to his progress as a drummer, his blind self-righteousness recalls the casual insults Zuckerberg hurls at his girlfriend in \u003cem>The Social Network\u003c/em>‘s opening scene.\u003c/p>\n\u003cp>http://youtu.be/7EPC5m1QsSk\u003c/p>\n\u003cp>That Chazelle brings a quick-paced Sorkinian wit to his script only makes the comparison between the films stick more. Fletcher teaches largely by launching demoralizing insults at his students, most of which cannot be repeated here but are marked by their punchy concision as much as their inventive vulgarity.\u003c/p>\n\u003cp>Andrew, however, could hardly be described as tongue-tied. He responds to his relatives at a family dinner with the same disparaging counterattacks that Zuckerberg offers his opposition lawyers. When one football-loving cousin suggests that if Andrew thinks the sport is such a joke he should “come play with us,” Andrew instantly shoots back: “Four words you’ll never hear from the NFL.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Andrew may have only scorn toward his cousin, but, as with the regatta scene in \u003cem>Social Network\u003c/em>, the introduction of athletics helps underscore the debt \u003cem>Whiplash\u003c/em> owes to sports films from \u003cem>Hoosiers\u003c/em> to \u003cem>Remember the Titans\u003c/em>. These movies aren’t the only influence on \u003cem>Whiplash\u003c/em>, of course. Fletcher is as much a trash-talking drill sergeant as he is a hard-nosed coach, and Andrew’s move from class underdog to first-chair drummer shares elements with music biopics. But the combination of those two elements mixed with Chazelle’s attention to the blood, sweat and tears of Andrew’s drumming gives the film a physical energy that we associate more with locker rooms than music studios.\u003c/p>\n\u003cp>Andrew’s work under Fletcher is defined by the demand to play ever faster. This is not a vision of jazz that embraces a laid-back Dave Brubeck sound; its need for speed is fiercer even than that of bebop, the style that Fletcher obviously worships. This is no-pain-no-gain jazz. Jazz turned into a jock’s game.\u003c/p>\n\u003cp>In one scene, Fletcher has Andrew and two other drummers compete for the chance to play at an upcoming performance by seeing which of them can first hit and hold an exact, rapid-fire tempo. He keeps them in the studio for hours, sweating through attempt after attempt.\u003c/p>\n\u003cp>The scene exemplifies Chazelle’s strategy of giving his subject matter a steroid injection — pushing it as close as possible to a bench press competition — in order to bring excitement to an activity that’s not naturally heart-pounding. David Fincher used the same tactic in the \u003cem>Social Network\u003c/em>‘s intern tryout scene.\u003c/p>\n\u003cp>More than \u003cem>Social Network\u003c/em>, though,\u003cem> Whiplash\u003c/em> attempts to maintain that high-level intensity to the end, a strategy that’s engrossing but forces the script to repeatedly up the ante and pushes it in some improbable directions.\u003c/p>\n\u003cp>Ultimately, what keeps \u003cem>Whiplash\u003c/em> from becoming a joyride whose effects last only as long as its adrenaline rush are Simmons’ and Teller’s performances and Chazelle’s insight into Andrew’s personality. What Chazelle stresses about Andrew is his obsessiveness. And what he really nails about obsession, about those people who work tirelessly at a specific goal, is that their struggle is not about achieving success rather than failure. It’s about demonstrating genius rather than mere talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the first shot of \u003cem>Whiplash\u003c/em>,\u003cem> \u003c/em>you know that Andrew has chops in his chosen field, just as you do with Sorkin’s Zuckerberg in his first scene. For both these characters, as in the most rags-to-riches sports tale, a few victories never suffice. What makes Andrew transplantable from a recording studio to a sports arena, and what makes \u003cem>Whiplash\u003c/em> so compelling to watch, is this push toward greatness, the inherent thrill of which, Chazelle realizes, has little do with the activity that inspires it. \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=Bang+The+Drum+Ever+Faster+In+The+Different+Sports+Arena+Of+%27Whiplash%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Andrew may have only scorn toward his cousin, but, as with the regatta scene in \u003cem>Social Network\u003c/em>, the introduction of athletics helps underscore the debt \u003cem>Whiplash\u003c/em> owes to sports films from \u003cem>Hoosiers\u003c/em> to \u003cem>Remember the Titans\u003c/em>. These movies aren’t the only influence on \u003cem>Whiplash\u003c/em>, of course. Fletcher is as much a trash-talking drill sergeant as he is a hard-nosed coach, and Andrew’s move from class underdog to first-chair drummer shares elements with music biopics. But the combination of those two elements mixed with Chazelle’s attention to the blood, sweat and tears of Andrew’s drumming gives the film a physical energy that we associate more with locker rooms than music studios.\u003c/p>\n\u003cp>Andrew’s work under Fletcher is defined by the demand to play ever faster. This is not a vision of jazz that embraces a laid-back Dave Brubeck sound; its need for speed is fiercer even than that of bebop, the style that Fletcher obviously worships. This is no-pain-no-gain jazz. Jazz turned into a jock’s game.\u003c/p>\n\u003cp>In one scene, Fletcher has Andrew and two other drummers compete for the chance to play at an upcoming performance by seeing which of them can first hit and hold an exact, rapid-fire tempo. He keeps them in the studio for hours, sweating through attempt after attempt.\u003c/p>\n\u003cp>The scene exemplifies Chazelle’s strategy of giving his subject matter a steroid injection — pushing it as close as possible to a bench press competition — in order to bring excitement to an activity that’s not naturally heart-pounding. David Fincher used the same tactic in the \u003cem>Social Network\u003c/em>‘s intern tryout scene.\u003c/p>\n\u003cp>More than \u003cem>Social Network\u003c/em>, though,\u003cem> Whiplash\u003c/em> attempts to maintain that high-level intensity to the end, a strategy that’s engrossing but forces the script to repeatedly up the ante and pushes it in some improbable directions.\u003c/p>\n\u003cp>Ultimately, what keeps \u003cem>Whiplash\u003c/em> from becoming a joyride whose effects last only as long as its adrenaline rush are Simmons’ and Teller’s performances and Chazelle’s insight into Andrew’s personality. What Chazelle stresses about Andrew is his obsessiveness. And what he really nails about obsession, about those people who work tirelessly at a specific goal, is that their struggle is not about achieving success rather than failure. It’s about demonstrating genius rather than mere talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the first shot of \u003cem>Whiplash\u003c/em>,\u003cem> \u003c/em>you know that Andrew has chops in his chosen field, just as you do with Sorkin’s Zuckerberg in his first scene. For both these characters, as in the most rags-to-riches sports tale, a few victories never suffice. What makes Andrew transplantable from a recording studio to a sports arena, and what makes \u003cem>Whiplash\u003c/em> so compelling to watch, is this push toward greatness, the inherent thrill of which, Chazelle realizes, has little do with the activity that inspires it. \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=Bang+The+Drum+Ever+Faster+In+The+Different+Sports+Arena+Of+%27Whiplash%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Adapted from a Patricia Highsmith novel, \u003cem>The Two Faces of January\u003c/em> is, like Highsmith’s \u003cem>The Talented Mr. Ripley\u003c/em>, a tale of deceptive identities. When we meet Chester (Viggo Mortensen) and Colette (Kirsten Dunst) in 1960s Greece, they seem like a rich, elegant American couple casually touring Europe. It’s not long, though, before Chester’s previous life catches up with him. A private detective comes to his hotel room demanding payment on behalf of a group who were swindled by Chester when he lived in the U.S. After a brief tussle, the detective ends up dead on the bathroom floor.\u003c/p>\n\u003cp>By the time that happens, though, Chester and Colette have befriended Rydal (Oscar Isaac), whose back story, while less evidently misleading, is also mysterious. He’s introduced as a more obvious cheat than Chester, running small scams on tourists while working as a tour guide. His demeanor, more than Chester’s, suggests that he may not be what he claims to be. And ultimately, while Rydal, too, may be on the run from his past, his past may not be so sinister.\u003c/p>\n\u003cp>http://youtu.be/TrRHmhIDfjg\u003c/p>\n\u003cp>Rydal and Chester are flip sides of the reinvention narrative, embodied quite magnificently by Isaac and Mortensen. Isaac, still doughy-eyed but much less frazzled than in \u003cem>Inside Llewyn Davis\u003c/em>, captures a self-assured center beneath Rydal’s somewhat fidgety outer appearance. Chester, on the other hand, is pristinely put together but barely controlled just below the surface. Rydal, it seems, will find peace eventually, but Chester’s torment only grows more frightening and dangerous.\u003c/p>\n\u003cp>The face-off between these two polarized characters — and two fine actors — offers up a fine flirtatious dance but never quite the promised payoff, although the two do share a few splendid interactions. One scene where the normally haughty Chester apologizes for a drunken episode and is brushed off by Rydal typifies these moments — they’re made up of small gestures and looks that raise the tension in the men’s power struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, writer-director Hossein Amini’s heavy-handed approach to interpreting the material bogs down the relationship. Chester and Rydal are clearly acting out something like a father-son dynamic, but Amini’s insistence on having them say as much reduces their rapport to simplistic therapy. Similarly, a series of dramatic shots as Chester’s behavior turns menacing are maddening for their excess: that Chester has inner demons is evident enough without lighting him as if he were the Phantom of the Opera.\u003c/p>\n\u003cp>Most of all, \u003cem>The Two Faces of January\u003c/em> feels shot too tight and cut too tight; it doesn’t push forward at a bewilderingly fast pace, but its story and its performances still feel like they need more room to breathe. The film’s plot, after all, is fairly uneventful after the death of the private detective, punctuated by stops at a series of towns in Crete while Chester and Colette wait to receive the fake passports that Rydal arranged for so they can leave the country.\u003c/p>\n\u003cp>In such an open scenario, what’s most interesting is how the trio’s perceptions and feelings shift, yet Amini refuses to let scenes run on any longer than needed to get the story movement across; thus, rich subtext is left frustratingly unexplored.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mortensen and Isaac are hindered by Amini’s method, but ultimately it’s Dunst who feels its effects most. The script sidelines her character as a plaything in Chester and Rydal’s competition. And the camera, when it finds her, does so seemingly for the sole purpose of tracking a fixed emotional trajectory — she is intrigued by Rydal, then gloomy, then despondent. Dunst complies adequately enough with the limited requirements of the role, and that’s ultimately how much of the film comes off: as a perfectly adequate take on a story that contains much more to be plumbed. \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=%27Two+Faces%27+Of+Reinvention+And+Deceptive+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adapted from a Patricia Highsmith novel, \u003cem>The Two Faces of January\u003c/em> is, like Highsmith’s \u003cem>The Talented Mr. Ripley\u003c/em>, a tale of deceptive identities. When we meet Chester (Viggo Mortensen) and Colette (Kirsten Dunst) in 1960s Greece, they seem like a rich, elegant American couple casually touring Europe. It’s not long, though, before Chester’s previous life catches up with him. A private detective comes to his hotel room demanding payment on behalf of a group who were swindled by Chester when he lived in the U.S. After a brief tussle, the detective ends up dead on the bathroom floor.\u003c/p>\n\u003cp>By the time that happens, though, Chester and Colette have befriended Rydal (Oscar Isaac), whose back story, while less evidently misleading, is also mysterious. He’s introduced as a more obvious cheat than Chester, running small scams on tourists while working as a tour guide. His demeanor, more than Chester’s, suggests that he may not be what he claims to be. And ultimately, while Rydal, too, may be on the run from his past, his past may not be so sinister.\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/TrRHmhIDfjg'\n title='//www.youtube.com/embed/TrRHmhIDfjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rydal and Chester are flip sides of the reinvention narrative, embodied quite magnificently by Isaac and Mortensen. Isaac, still doughy-eyed but much less frazzled than in \u003cem>Inside Llewyn Davis\u003c/em>, captures a self-assured center beneath Rydal’s somewhat fidgety outer appearance. Chester, on the other hand, is pristinely put together but barely controlled just below the surface. Rydal, it seems, will find peace eventually, but Chester’s torment only grows more frightening and dangerous.\u003c/p>\n\u003cp>The face-off between these two polarized characters — and two fine actors — offers up a fine flirtatious dance but never quite the promised payoff, although the two do share a few splendid interactions. One scene where the normally haughty Chester apologizes for a drunken episode and is brushed off by Rydal typifies these moments — they’re made up of small gestures and looks that raise the tension in the men’s power struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, writer-director Hossein Amini’s heavy-handed approach to interpreting the material bogs down the relationship. Chester and Rydal are clearly acting out something like a father-son dynamic, but Amini’s insistence on having them say as much reduces their rapport to simplistic therapy. Similarly, a series of dramatic shots as Chester’s behavior turns menacing are maddening for their excess: that Chester has inner demons is evident enough without lighting him as if he were the Phantom of the Opera.\u003c/p>\n\u003cp>Most of all, \u003cem>The Two Faces of January\u003c/em> feels shot too tight and cut too tight; it doesn’t push forward at a bewilderingly fast pace, but its story and its performances still feel like they need more room to breathe. The film’s plot, after all, is fairly uneventful after the death of the private detective, punctuated by stops at a series of towns in Crete while Chester and Colette wait to receive the fake passports that Rydal arranged for so they can leave the country.\u003c/p>\n\u003cp>In such an open scenario, what’s most interesting is how the trio’s perceptions and feelings shift, yet Amini refuses to let scenes run on any longer than needed to get the story movement across; thus, rich subtext is left frustratingly unexplored.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mortensen and Isaac are hindered by Amini’s method, but ultimately it’s Dunst who feels its effects most. The script sidelines her character as a plaything in Chester and Rydal’s competition. And the camera, when it finds her, does so seemingly for the sole purpose of tracking a fixed emotional trajectory — she is intrigued by Rydal, then gloomy, then despondent. Dunst complies adequately enough with the limited requirements of the role, and that’s ultimately how much of the film comes off: as a perfectly adequate take on a story that contains much more to be plumbed. \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=%27Two+Faces%27+Of+Reinvention+And+Deceptive+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the opening of \u003cem>Gone Girl\u003c/em>, Nick Dunne (Ben Affleck) is literally a man on the street. Standing by his trash cans in the half-light of an early morning at his gorgeous Missouri home in a T-shirt and sweatpants, he is what might be mistaken for “comfortable,” but he is painfully, powerfully ordinary. And in keeping with the title, he is about to learn that his wife, Amy (Rosamund Pike), is missing. Suspicious to both the authorities and the audience, Nick has lost his wife to either an act of violence he committed or an act of violence he did not commit. He is no longer ordinary; he is either a monster or a misunderstood victim of circumstance.\u003c/p>\n\u003cp>The story proceeds as a pair of alternating narratives: We follow Nick in the present as he describes to the investigating officers a challenging but basically good marriage, while Amy recounts in her diary, in parallel, a blissful courtship followed by increasingly dark flashes of trouble. We watch Nick tell the police and his sister things we know from peeking at Amy’s diary are not true. It begins to dawn, in fits and starts, that the Nick we saw standing in the street was not the entire Nick.\u003c/p>\n\u003cp>http://youtu.be/Ym3LB0lOJ0o\u003c/p>\n\u003cp>It seemed almost impossible that director David Fincher and original novelist Gillian Flynn, who wrote the adapted screenplay herself, could hang on to the 2012 book’s uncommon and disorienting structure, but they do. Seeing the film feels much like reading the book: They achieve the same gasps, the same moments of sudden and giddy understanding. They solve the problem inherent in every mystery: that it will be solved, but it cannot be until the final page, because once it is, the tension will slacken irreparably absent a series of false endings. In the film, as in the book, the opposite happens. Information is gained, sometimes in sudden gulps, but when it is, there is no deflation — only an exhilarating newness.\u003c/p>\n\u003cp>The story calls for such unrelenting work with mood, though, that there are times when it feels in danger of stalling to gaze at its own blue-gray color palette. Fincher loves his Trent Reznor/Atticus Ross scores, too, and while the dreamlike, woozy music in the first part of the film has just the right unnerving constancy, it seems at times to admit too little silence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the production is slightly too atmospheric, the performances are bracingly specific, led by Affleck, whose task is complex. What drives any effective portrayal of Nick is that you must be able to believe that he could be a malevolent sort of pent-up guy, or he could be a middle-of-the-road lousy-husband guy, or he could be a truly put-upon and largely blameless guy. You must, no matter how hard you peer at him, find it hard to tell. You must be unable to choose an answer even after you know the answer. He has to have an almost existentially untrustworthy quality, so much so that you don’t even trust any instinct you may have that he’s not to be trusted. He has to be, to Amy, both charismatic and disappointing, and he has to be, to us, maybe innocent and maybe guilty but naggingly unseemly either way. It is the greasy sheen on Nick’s personality, combined with something sympathetic in his insistence that he’s innocent, that makes the movie run.\u003c/p>\n\u003cp>And that is where Ben Affleck’s sweet spot is. Like Hugh Grant, he flounders dully when people try to get him to play anybody too unambiguously nice; he leans on his grin and his ingratiating shrug, and he gives off a generous whiff of distasteful entitlement. But allowed a bit of early-middle-age moping and resentment that’s built into the character, allowed to \u003cem>play \u003c/em>a more questionable person, he’s more human. His work here is taut and controlled, and he beautifully translates details from the book like Nick’s tendency to smile at cameras even while surrounded by the theater of tragedy — a tendency that’s either an unfortunate disadvantage that makes him seem guilty or a crucial tell that he is guilty. (Seeing this kind of detail on screen — the kind that’s tough to understand until you see a living person do it — goes a long way to justify the film adaptation’s existence.)\u003c/p>\n\u003cp>Rosamund Pike’s performance is much harder to talk about, because she’s the co-lead of the film despite the fact that Amy is gone. It is Amy who must come into focus gradually, and it is Amy whose disappearance must eventually be solved, and whose story will have to be closed from there. It is adequate to say that playing Amy in the dual narratives that she and Nick offer is an enormous challenge. It’s not quite the pop-culture staple of \u003cem>Rashomon\u003c/em>, but reconciling Amy from Nick’s telling and Amy from the diary — and the two Nicks with whom those Amys live — becomes key to understanding what happened to Amy and whether she will or will not ever be found.\u003c/p>\n\u003cp>I think it is not spoiling too much to say that there are really two movies curled around each other in \u003cem>Gone Girl\u003c/em>: one part built on the tropes of mystery and one part drawn from the traditions of suspense and horror. There is more subtlety in the first, more focus on the fine points of how marriages bend lovingly and warp dangerously. The second story is more an unsheathed weapon, wielded extravagantly, in which whatever is \u003cem>wrong\u003c/em>, whatever made Amy be \u003cem>gone\u003c/em>, must be confronted, whether it’s internal or external to her husband. Fincher’s handling of both is appropriately creepy and nicely paced — the movie is 2 1/2 hours long and never drags.\u003c/p>\n\u003cp>While this is largely a two-person dance (of people spending much of their time apart), supporting performers, including the fabulous Carrie Coon as Nick’s fretting twin sister and a surprisingly relaxed turn from Tyler Perry as Nick’s attorney, put in good work. Neil Patrick Harris as a former boyfriend of Amy’s makes for an offbeat piece of casting given the other roles he’s played, and while it’s an almost impenetrable performance, it seems intentionally so.\u003c/p>\n\u003cp>But ultimately, \u003cem>Gone Girl \u003c/em>runs on the diabolical, inventive, sometimes unhinged genius of its story. It is constantly pressing on the edges of tropes until they show weakness — the tough detective, the dirty lawyer, the sweet wife and worried husband — and then cramming sticks of dynamite into the cracks and lighting them for kicks. Fincher being Fincher, it’s a fine-looking, carefully crafted, meticulous piece of filmmaking full of shots that beg to be admired until they are almost but not quite ostentatious, including the very first one of the film, in which the back of Amy’s head is obliquely referenced as a thing to be cradled, struck and ultimately dismantled — the better to understand it, of course.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It is fine filmmaking. It is fine acting. But this is, in the end, a story-driven movie, and what makes it work is that Flynn and Fincher together have told the ever-loving heck out of this scary, weird tale, with respect for the pitch-black (really, really pitch-black) humor that occasionally oozes from its pores. They are acting here as social commentators on the topics of gender and marriage and media (it’s just hard to explore that without giving too much away), but they’re also acting as campfire legend-spinners. \u003cem>This one time, there was this man, and he called the police and said that his wife was missing.\u003c/em> \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=%27Gone+Girl%27%3A+A+Missing+Wife+And+A+Cloud+Of+Suspicion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the production is slightly too atmospheric, the performances are bracingly specific, led by Affleck, whose task is complex. What drives any effective portrayal of Nick is that you must be able to believe that he could be a malevolent sort of pent-up guy, or he could be a middle-of-the-road lousy-husband guy, or he could be a truly put-upon and largely blameless guy. You must, no matter how hard you peer at him, find it hard to tell. You must be unable to choose an answer even after you know the answer. He has to have an almost existentially untrustworthy quality, so much so that you don’t even trust any instinct you may have that he’s not to be trusted. He has to be, to Amy, both charismatic and disappointing, and he has to be, to us, maybe innocent and maybe guilty but naggingly unseemly either way. It is the greasy sheen on Nick’s personality, combined with something sympathetic in his insistence that he’s innocent, that makes the movie run.\u003c/p>\n\u003cp>And that is where Ben Affleck’s sweet spot is. Like Hugh Grant, he flounders dully when people try to get him to play anybody too unambiguously nice; he leans on his grin and his ingratiating shrug, and he gives off a generous whiff of distasteful entitlement. But allowed a bit of early-middle-age moping and resentment that’s built into the character, allowed to \u003cem>play \u003c/em>a more questionable person, he’s more human. His work here is taut and controlled, and he beautifully translates details from the book like Nick’s tendency to smile at cameras even while surrounded by the theater of tragedy — a tendency that’s either an unfortunate disadvantage that makes him seem guilty or a crucial tell that he is guilty. (Seeing this kind of detail on screen — the kind that’s tough to understand until you see a living person do it — goes a long way to justify the film adaptation’s existence.)\u003c/p>\n\u003cp>Rosamund Pike’s performance is much harder to talk about, because she’s the co-lead of the film despite the fact that Amy is gone. It is Amy who must come into focus gradually, and it is Amy whose disappearance must eventually be solved, and whose story will have to be closed from there. It is adequate to say that playing Amy in the dual narratives that she and Nick offer is an enormous challenge. It’s not quite the pop-culture staple of \u003cem>Rashomon\u003c/em>, but reconciling Amy from Nick’s telling and Amy from the diary — and the two Nicks with whom those Amys live — becomes key to understanding what happened to Amy and whether she will or will not ever be found.\u003c/p>\n\u003cp>I think it is not spoiling too much to say that there are really two movies curled around each other in \u003cem>Gone Girl\u003c/em>: one part built on the tropes of mystery and one part drawn from the traditions of suspense and horror. There is more subtlety in the first, more focus on the fine points of how marriages bend lovingly and warp dangerously. The second story is more an unsheathed weapon, wielded extravagantly, in which whatever is \u003cem>wrong\u003c/em>, whatever made Amy be \u003cem>gone\u003c/em>, must be confronted, whether it’s internal or external to her husband. Fincher’s handling of both is appropriately creepy and nicely paced — the movie is 2 1/2 hours long and never drags.\u003c/p>\n\u003cp>While this is largely a two-person dance (of people spending much of their time apart), supporting performers, including the fabulous Carrie Coon as Nick’s fretting twin sister and a surprisingly relaxed turn from Tyler Perry as Nick’s attorney, put in good work. Neil Patrick Harris as a former boyfriend of Amy’s makes for an offbeat piece of casting given the other roles he’s played, and while it’s an almost impenetrable performance, it seems intentionally so.\u003c/p>\n\u003cp>But ultimately, \u003cem>Gone Girl \u003c/em>runs on the diabolical, inventive, sometimes unhinged genius of its story. It is constantly pressing on the edges of tropes until they show weakness — the tough detective, the dirty lawyer, the sweet wife and worried husband — and then cramming sticks of dynamite into the cracks and lighting them for kicks. Fincher being Fincher, it’s a fine-looking, carefully crafted, meticulous piece of filmmaking full of shots that beg to be admired until they are almost but not quite ostentatious, including the very first one of the film, in which the back of Amy’s head is obliquely referenced as a thing to be cradled, struck and ultimately dismantled — the better to understand it, of course.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The world is ending, billions will die, and hell is, literally, coming to Long Island. But the rebooted \u003cem>Left Behind\u003c/em> doesn’t want to alarm you.\u003c/p>\n\u003cp>Fourteen years ago, as a new millennium’s arrival failed to extinguish our doggedly persistent universe, the first \u003cem>Left Behind\u003c/em> movie introduced a slithery Antichrist — a U.N. official, of course — and the prospect of global war centered on Jerusalem. Just last month, \u003cem>The Remaining\u003c/em> treated the fundamentalist-Christian notion of “the rapture” as a horror movie, littered with the corpses of born-againers whose souls had been called to heaven.\u003c/p>\n\u003cp>The second attempt to create a successful movie franchise from the 16 best-selling \u003cem>Left Behind\u003c/em> novels takes a gentler approach. The departed abandon only their clothing, not their carcasses. And no demons are glimpsed in a tale that focuses tightly on the family of airline pilot Ray Steele (Nicolas Cage). As Ray tries to land a disabled jetliner whose co-pilot is now chilling with the man upstairs, his challenges derive less from the Bible (1 Thessalonians 4:17, in particular) than from such moldy disaster flicks as 1969’s \u003cem>Airport\u003c/em>.\u003c/p>\n\u003cp>http://youtu.be/GrXe8YDbzYs\u003c/p>\n\u003cp>For those who missed this particular end of the world the last time it didn’t happen, \u003cem>Left Behind\u003c/em> is based on a series of sectarian thrillers by Tim LaHaye and Jerry B. Jenkins. Adapting the books to the screen began in 2000, but the movies didn’t click even as straight-to-church-auditorium fare, and stopped at three. The producers of the latest round of adaptations have also promised three, not a full 13.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The revamped but still clunky saga begins as Ray prepares to fly from JFK to London by removing his wedding ring. He’s estranged from his wife (Lea Thompson) since she became a rapture-ready Christian, and is hoping to spend some time with a sexy flight attendant once they land. This carnal design has so warped his judgment that he has decided to skip a family reunion with daughter Chloe (Cassie Thomson), who has returned from college just to see him.\u003c/p>\n\u003cp>Chloe visits her dad briefly at the airport, and while there meets famed daredevil journalist Buck Williams (Chad Michael Murray), who will also be on that flight to London. Then she takes her little brother to the mall, where break dancers bust some moves that are as fluid as the dialogue is stiff. This protracted setup moves about as briskly as the first three hours of \u003cem>Boyhood\u003c/em>.\u003c/p>\n\u003cp>Finally, the righteous vanish and the rest are left to ponder their disappearance. Chloe searches for her sibling and mom, both of whom are no longer in this world; her dad flies the damaged plane while piecing together the religious significance of what just happened.\u003c/p>\n\u003cp>In first class, Williams deals with unruly fellow travelers selected for their comic-relief value. Among the passengers is a pistol-packing sports-star spouse played by \u003cem>American Idol\u003c/em> champ Jordin Sparks, who sings the end-credits ditty, “I Wish We’d All Been Ready.” Viewers will wish that director Vic Armstrong and scripters Paul Lalonde and John Patus had been ready, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie climaxes with Ray’s attempt to land the plane, an utterly nontheological struggle. This section of the movie is adequately staged, if not exactly surprising. Its emphasis on real-world rather than supernatural threats is shrewd, but sooner or later the new \u003cem>Left Behind\u003c/em> series will have to focus on its source’s real agenda. At that point, the potential audience will evaporate faster than Chloe’s kid brother. \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=A+Man%2C+A+Plane%2C+A+Rapture%3A+%27Left+Behind%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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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"meta": {
"site": "radio",
"source": "npr"
},
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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"
}
},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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