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"content": "\u003cp>When producers were laying track for the \u003cem>Hunger Games\u003c/em> series years ago, they couldn’t have foreseen how discomforting author Suzanne Collins’s descriptions of a war-torn authoritarian state would look on the big screen in 2014. In \u003cem>The Hunger Games: Mockingjay – Part One\u003c/em>, Jennifer Lawrence witnesses and/or learns of: towns reduced to rubble, refugee camps next to mass graves, public executions of innocents with burlap sacks over their heads, law enforcement gunning down protesters in the street, and a military bombing a hospital filled with civilians. All of these images have resonance in real events of this year, generations before Collins predicted civilization would devolve into a regime that maintains control over its citizens with televised death matches.\u003c/p>\n\u003cp>The series has always evoked real geopolitics, but the earlier films offset those with self-parody: an abundance of purple hair and oily camera-ready suits, an outlandish imperial march composed by Arcade Fire. This playfulness is absent from \u003cem>Mockingjay\u003c/em>, which is laser-focused on the land of Panem quashing dissent by any means necessary. It’s not that the film is “too dark for kids” — that would drastically underestimate teenagers’ capabilities for darkness. It’s that this degree of nastiness doesn’t square with the empty-calories action scenes of the first two films, where nothing that happened in the Hunger Games arenas (look out! Wild monkeys!) seemed to impact the overall story.\u003c/p>\n\u003cp>http://youtu.be/3PkkHsuMrho\u003c/p>\n\u003cp>But maybe it’s a good thing to be more serious this time, even if the progression wasn’t gradual. “A little on-the-nose, but, of course, so is war,” remarks the dearly departed Philip Seymour Hoffman, playing an architect of the Panem resistance movement. He’s referring to a tweak he’s made to a rally song, but he could also be discussing \u003cem>Mockingjay\u003c/em> itself, how a mass appeal sci-fi franchise chooses its war imagery. In a film about the role that visual communication plays in public opinion, the on-the-nose approach is at once intriguing and exhausting. Strange to think this series used to be about archery in the wilderness.\u003c/p>\n\u003cp>That, anyway, is where fiery revolutionary Katniss Everdeen (Lawrence) was at the conclusion of the previous film, 2013’s \u003cem>Catching Fire\u003c/em>. Rejecting society’s pressure to kill her friends for amusement a second time, Katniss instead shot a hole in the sky, through which she has been whisked away to the super-secret underground rebel stronghold District 13. In the first two films Katniss was a pawn of Panem’s dastardly, white-bearded President Snow (Donald Sutherland, forever sneering). Sadly, she’s still a pawn, but of a nobler president, the benevolent but still white-haired District 13 leader Alma Coin (Julianne Moore, a hair too robotic). Coin needs Katniss to be her “Mockingjay,” a symbol around which to mobilize the citizens of Panem: a warrior who’s no-nonsense, yet down-to-earth. In short, she needs Katniss to be Jennifer Lawrence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Until now, the biggest strength of the \u003cem>Hunger Games\u003c/em> series has been the careful construction of Panem, a dystopia-lover’s utopia. All the details from the first two entries were rich in cinematic absurdity, like the party where the rich gladly vomit up their food, or the gaudy stage sets that accompany Stanley Tucci’s gleeful talk show host as he conducts cloying interviews with Games candidates. Having to trade such an expansive setting for a drafty underground bunker (District 13 must be sharing the lease with the Zion rebels from the \u003cem>Matrix\u003c/em> sequels) is the weakest part of \u003cem>Mockingjay\u003c/em>, along with Katniss’s friend-and-maybe-more Gale (Liam Hemsworth) and his mopey “I have feelings, too!” jealousy.\u003c/p>\n\u003cp>There’s also no escaping the fact that this film, co-written by Collins and two others, is a stopgap designed to string audiences along one year more than the source material requires. The artificial division of a narrative for the sole purpose of making money should not normally be cause for a creative success. But somehow, chopping up \u003cem>Mockingjay\u003c/em>, a practice that has become the norm with final installments of YA series adaptations, created some happy accidents. With less material than in \u003cem>Catching Fire\u003c/em>, director Francis Lawrence is free to be contemplative, edit sequences patiently instead of frantically, and linger over small visual details like a speck of blood on Snow’s cheek after his groomer cuts his face shaving. And Jennifer Lawrence has the freedom to interact with each of her allies in more subtle ways: practiced patience with Elizabeth Banks’s fallen fashion maven Effie; steely distrust with Woody Harrelson’s rakish mentor Haymitch; sheer annoyance with her cat.\u003c/p>\n\u003cp>Josh Hutcherson, a bit wooden in the other films, is also doing something fascinating as Peeta, Katniss’s on-camera boyfriend who was captured by Panem’s Capitol at the conclusion of \u003cem>Catching Fire\u003c/em>. For much of \u003cem>Mockingjay\u003c/em>,\u003cem> \u003c/em>we see him only via the Capitol’s authorized interviews saying questionable things about the revolution. Like Katniss, we can only guess at his current state of mind. Hutcherson’s strong, subtle performance lets us read any number of possibilities in his face and minimal line readings. That’s until the very end, when he turns chilling.\u003c/p>\n\u003cp>If any of this felt like Hobbiting — defined as the practice of throwing useless, fan-serving footage onscreen to bloat up a blockbuster franchise — there’d be a problem. But \u003cem>Mockingjay\u003c/em> doesn’t have that vibe, because it follows one unmistakable theme from beginning to end: an information war. Instead of physically dueling, Katniss and the Capitol fling propaganda films like projectile bombs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The chess match of public opinion is a colder, more calculated game than the testing of wilderness survival skills. Katniss, reluctant viral video star, hilariously fumbles her lines when she’s in front of a green screen leading the CGI army from a Ridley Scott movie. But she draws tears when a tattooed documentarian (\u003cem>Game of Thrones\u003c/em>‘s Natalie Dormer, who could have stepped out of a Copenhagen artist’s co-op) films her examining the rubble of her childhood home. It’s the latter footage, the on-the-nose war stuff, that drives Panem to rebel rather than change the channel to \u003cem>Where Are My Pants?\u003c/em>. Collins and the Lawrences have crossed the uncanny valley separating imagined dystopia from actual horrors, but they’re also delivering a life lesson in cinema to teens: Things are stronger when they look \u003cem>real\u003c/em>. Think about that when the Capitol beams out the next all-CGI superhero movie. \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=It%27s+Getting+Serious+In+Panem+As+%27Mockingjay%27+Goes+Dark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers were laying track for the \u003cem>Hunger Games\u003c/em> series years ago, they couldn’t have foreseen how discomforting author Suzanne Collins’s descriptions of a war-torn authoritarian state would look on the big screen in 2014. In \u003cem>The Hunger Games: Mockingjay – Part One\u003c/em>, Jennifer Lawrence witnesses and/or learns of: towns reduced to rubble, refugee camps next to mass graves, public executions of innocents with burlap sacks over their heads, law enforcement gunning down protesters in the street, and a military bombing a hospital filled with civilians. All of these images have resonance in real events of this year, generations before Collins predicted civilization would devolve into a regime that maintains control over its citizens with televised death matches.\u003c/p>\n\u003cp>The series has always evoked real geopolitics, but the earlier films offset those with self-parody: an abundance of purple hair and oily camera-ready suits, an outlandish imperial march composed by Arcade Fire. This playfulness is absent from \u003cem>Mockingjay\u003c/em>, which is laser-focused on the land of Panem quashing dissent by any means necessary. It’s not that the film is “too dark for kids” — that would drastically underestimate teenagers’ capabilities for darkness. It’s that this degree of nastiness doesn’t square with the empty-calories action scenes of the first two films, where nothing that happened in the Hunger Games arenas (look out! Wild monkeys!) seemed to impact the overall story.\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/3PkkHsuMrho'\n title='//www.youtube.com/embed/3PkkHsuMrho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But maybe it’s a good thing to be more serious this time, even if the progression wasn’t gradual. “A little on-the-nose, but, of course, so is war,” remarks the dearly departed Philip Seymour Hoffman, playing an architect of the Panem resistance movement. He’s referring to a tweak he’s made to a rally song, but he could also be discussing \u003cem>Mockingjay\u003c/em> itself, how a mass appeal sci-fi franchise chooses its war imagery. In a film about the role that visual communication plays in public opinion, the on-the-nose approach is at once intriguing and exhausting. Strange to think this series used to be about archery in the wilderness.\u003c/p>\n\u003cp>That, anyway, is where fiery revolutionary Katniss Everdeen (Lawrence) was at the conclusion of the previous film, 2013’s \u003cem>Catching Fire\u003c/em>. Rejecting society’s pressure to kill her friends for amusement a second time, Katniss instead shot a hole in the sky, through which she has been whisked away to the super-secret underground rebel stronghold District 13. In the first two films Katniss was a pawn of Panem’s dastardly, white-bearded President Snow (Donald Sutherland, forever sneering). Sadly, she’s still a pawn, but of a nobler president, the benevolent but still white-haired District 13 leader Alma Coin (Julianne Moore, a hair too robotic). Coin needs Katniss to be her “Mockingjay,” a symbol around which to mobilize the citizens of Panem: a warrior who’s no-nonsense, yet down-to-earth. In short, she needs Katniss to be Jennifer Lawrence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Until now, the biggest strength of the \u003cem>Hunger Games\u003c/em> series has been the careful construction of Panem, a dystopia-lover’s utopia. All the details from the first two entries were rich in cinematic absurdity, like the party where the rich gladly vomit up their food, or the gaudy stage sets that accompany Stanley Tucci’s gleeful talk show host as he conducts cloying interviews with Games candidates. Having to trade such an expansive setting for a drafty underground bunker (District 13 must be sharing the lease with the Zion rebels from the \u003cem>Matrix\u003c/em> sequels) is the weakest part of \u003cem>Mockingjay\u003c/em>, along with Katniss’s friend-and-maybe-more Gale (Liam Hemsworth) and his mopey “I have feelings, too!” jealousy.\u003c/p>\n\u003cp>There’s also no escaping the fact that this film, co-written by Collins and two others, is a stopgap designed to string audiences along one year more than the source material requires. The artificial division of a narrative for the sole purpose of making money should not normally be cause for a creative success. But somehow, chopping up \u003cem>Mockingjay\u003c/em>, a practice that has become the norm with final installments of YA series adaptations, created some happy accidents. With less material than in \u003cem>Catching Fire\u003c/em>, director Francis Lawrence is free to be contemplative, edit sequences patiently instead of frantically, and linger over small visual details like a speck of blood on Snow’s cheek after his groomer cuts his face shaving. And Jennifer Lawrence has the freedom to interact with each of her allies in more subtle ways: practiced patience with Elizabeth Banks’s fallen fashion maven Effie; steely distrust with Woody Harrelson’s rakish mentor Haymitch; sheer annoyance with her cat.\u003c/p>\n\u003cp>Josh Hutcherson, a bit wooden in the other films, is also doing something fascinating as Peeta, Katniss’s on-camera boyfriend who was captured by Panem’s Capitol at the conclusion of \u003cem>Catching Fire\u003c/em>. For much of \u003cem>Mockingjay\u003c/em>,\u003cem> \u003c/em>we see him only via the Capitol’s authorized interviews saying questionable things about the revolution. Like Katniss, we can only guess at his current state of mind. Hutcherson’s strong, subtle performance lets us read any number of possibilities in his face and minimal line readings. That’s until the very end, when he turns chilling.\u003c/p>\n\u003cp>If any of this felt like Hobbiting — defined as the practice of throwing useless, fan-serving footage onscreen to bloat up a blockbuster franchise — there’d be a problem. But \u003cem>Mockingjay\u003c/em> doesn’t have that vibe, because it follows one unmistakable theme from beginning to end: an information war. Instead of physically dueling, Katniss and the Capitol fling propaganda films like projectile bombs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chess match of public opinion is a colder, more calculated game than the testing of wilderness survival skills. Katniss, reluctant viral video star, hilariously fumbles her lines when she’s in front of a green screen leading the CGI army from a Ridley Scott movie. But she draws tears when a tattooed documentarian (\u003cem>Game of Thrones\u003c/em>‘s Natalie Dormer, who could have stepped out of a Copenhagen artist’s co-op) films her examining the rubble of her childhood home. It’s the latter footage, the on-the-nose war stuff, that drives Panem to rebel rather than change the channel to \u003cem>Where Are My Pants?\u003c/em>. Collins and the Lawrences have crossed the uncanny valley separating imagined dystopia from actual horrors, but they’re also delivering a life lesson in cinema to teens: Things are stronger when they look \u003cem>real\u003c/em>. Think about that when the Capitol beams out the next all-CGI superhero movie. \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=It%27s+Getting+Serious+In+Panem+As+%27Mockingjay%27+Goes+Dark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Satirists Go Serious in 'Foxcatcher' And 'Rosewater' — And It Works",
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"content": "\u003cp>What do you get when you mix big-deal comedians with real-life calamities? Sounds like a joke, but Steve Carell and Jon Stewart are answering that question this week in their movies \u003cem>Foxcatcher\u003c/em> and \u003cem>Rosewater.\u003c/em> And it turns out, seriousness suits them.\u003c/p>\n\u003cp>In fact, you’ll likely do a double-take when you first see Carell’s John Dupont in \u003cem>Foxcatcher\u003c/em>. Maybe when you first hear him, too. He’s the black sheep of the wealthy gunpowder-magnate family circa 1988, and he’s all but unrecognizable behind a putty nose and a flat vocal affect that makes words and phrases emerge from him in what sound like burps.\u003c/p>\n\u003cp>Talking to an Olympic wrestler he’s hoping to impress, Carell’s Dupont is pasty, heavy, awkward, and when he flashes what he apparently intends as a pleasant smile, it’s downright disquieting.\u003c/p>\n\u003cp>Mark Schultz, the gold medalist he’s inviting to train at a facility he’s built on his Pennsylvania estate, is played by Channing Tatum with a leaden affect and the wounded look of puppy who’s been kicked too often. Mark is the younger of two Olympic medalists in his family. His brother Dave, played with more grace and verve by Mark Ruffalo, has prospered since his Olympic win. Mark, who won later, stalled out quicker, and now, to escape his brother’s shadow, he signs on with Dupont, who showers him with money, sparring partners, cocaine, and inspirational speeches that sound increasingly unhinged.\u003c/p>\n\u003cp>“I am leading men,” says Dupont. “I am giving them a dream and I am giving America hope.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A more astute man might realize his patron is … well, maybe nuts, but Tatum’s Mark isn’t the sharpest tool in the shed, and just gets himself, and later his brother, in deeper.\u003c/p>\n\u003cp>Director Bennett Miller is no stranger to sports or personal eccentricity in his films, having directed both \u003cem>Moneyball\u003c/em> and the Truman Capote biopic \u003cem>Capote\u003c/em>. In \u003cem>Foxcatcher\u003c/em>, Miller uses three superb performances to take us deep into a privileged world where the choreographed struggle of wrestling mixes toxically with the psychological struggles of familial disappointment. The film does not — or maybe cannot — explain the inexplicable: the acts of a mentally ill man. But it can make the plight of those in that man’s orbit profoundly anguishing.\u003c/p>\n\u003cp>You might expect anguish from \u003cem>Rosewater\u003c/em>, a film drawn by Jon Stewart from BBC journalist Maziar Bahari’s book about surviving solitary confinement in an Iranian prison. But while the film can be unnerving as it details the dangers of reporting on opposition demonstrators after Iran’s elections, it’s also steeped in the sort of humor you’d expect from Stewart, who both wrote and directed the movie. In fact, Stewart’s connection with the story was more than moderately intimate: A \u003cem>Daily Show\u003c/em> interview done by the real Bahari was used against him in jail. Stewart has actor Gael Garcia Bernal re-enact it with Jason Jones.\u003c/p>\n\u003cp>Funny to American ears, the sketch, in which Jones claims to be a spy, becomes less funny when Bahari’s thrown in prison four days after it airs, and has to defend himself to an interrogator as “just a journalist.”\u003c/p>\n\u003cp>The interrogator — an excellent Kim Bodnia — calls up the interview on his computer.\u003c/p>\n\u003cp>“Can you tell me,” he wonders, “why ‘just-a-journalist’ would meet up with an American spy?”\u003c/p>\n\u003cp>Bahari, laughing, tells him it’s a comedy show, that Jones is a comedian pretending to be a spy, but that doesn’t even blunt the line of questioning.\u003c/p>\n\u003cp>“So can you tell me why an American pretending to be a spy has chosen to interview you?”\u003c/p>\n\u003cp>Jon Stewart took several months off from Comedy Central to make this movie last year, and painful as that sabbatical may have been for fans, it turns out to have been worthwhile. \u003cem>Rosewater\u003c/em> (the title references the cologne by which the usually blindfolded Bahari recognizes the interrogator) has an urgency that’s all about the storytelling smarts of its first-time writer-director. It’s also got first-rate acting, the nuance about media manipulation you’d expect from Stewart, and even cinematic grace notes, as when Bernal, in a burst of antic feeling after months of isolation, dances in his cell, remembering a Leonard Cohen song his sister played for him as a child.\u003c/p>\n\u003cp>\u003cem>Rosewater\u003c/em> — and \u003cem>Foxcatcher\u003c/em>, too — could doubtless have been anchored by other talents. Their stories needn’t have reached us, tears-of-a-clown-style, through Jon Stewart and Steve Carell. But the involvement of those comics proves a remarkable blessing, at least partly because it connects us to their sense of discovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What could be more astonishing, after all, than being moved by those we look to for laughter. \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=Satirists+Go+Serious+in+%27Foxcatcher%27+And+%27Rosewater%27+%E2%80%94+And+It+Works&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "NPR film critic Bob Mondello reviews two serious films based on real-life events — \u003cem>Foxcatcher, \u003c/em>which stars comedian Steve Carrell, and \u003cem>Rosewater\u003c/em>, directed by Comedy Central's Jon Stewart.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you get when you mix big-deal comedians with real-life calamities? Sounds like a joke, but Steve Carell and Jon Stewart are answering that question this week in their movies \u003cem>Foxcatcher\u003c/em> and \u003cem>Rosewater.\u003c/em> And it turns out, seriousness suits them.\u003c/p>\n\u003cp>In fact, you’ll likely do a double-take when you first see Carell’s John Dupont in \u003cem>Foxcatcher\u003c/em>. Maybe when you first hear him, too. He’s the black sheep of the wealthy gunpowder-magnate family circa 1988, and he’s all but unrecognizable behind a putty nose and a flat vocal affect that makes words and phrases emerge from him in what sound like burps.\u003c/p>\n\u003cp>Talking to an Olympic wrestler he’s hoping to impress, Carell’s Dupont is pasty, heavy, awkward, and when he flashes what he apparently intends as a pleasant smile, it’s downright disquieting.\u003c/p>\n\u003cp>Mark Schultz, the gold medalist he’s inviting to train at a facility he’s built on his Pennsylvania estate, is played by Channing Tatum with a leaden affect and the wounded look of puppy who’s been kicked too often. Mark is the younger of two Olympic medalists in his family. His brother Dave, played with more grace and verve by Mark Ruffalo, has prospered since his Olympic win. Mark, who won later, stalled out quicker, and now, to escape his brother’s shadow, he signs on with Dupont, who showers him with money, sparring partners, cocaine, and inspirational speeches that sound increasingly unhinged.\u003c/p>\n\u003cp>“I am leading men,” says Dupont. “I am giving them a dream and I am giving America hope.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A more astute man might realize his patron is … well, maybe nuts, but Tatum’s Mark isn’t the sharpest tool in the shed, and just gets himself, and later his brother, in deeper.\u003c/p>\n\u003cp>Director Bennett Miller is no stranger to sports or personal eccentricity in his films, having directed both \u003cem>Moneyball\u003c/em> and the Truman Capote biopic \u003cem>Capote\u003c/em>. In \u003cem>Foxcatcher\u003c/em>, Miller uses three superb performances to take us deep into a privileged world where the choreographed struggle of wrestling mixes toxically with the psychological struggles of familial disappointment. The film does not — or maybe cannot — explain the inexplicable: the acts of a mentally ill man. But it can make the plight of those in that man’s orbit profoundly anguishing.\u003c/p>\n\u003cp>You might expect anguish from \u003cem>Rosewater\u003c/em>, a film drawn by Jon Stewart from BBC journalist Maziar Bahari’s book about surviving solitary confinement in an Iranian prison. But while the film can be unnerving as it details the dangers of reporting on opposition demonstrators after Iran’s elections, it’s also steeped in the sort of humor you’d expect from Stewart, who both wrote and directed the movie. In fact, Stewart’s connection with the story was more than moderately intimate: A \u003cem>Daily Show\u003c/em> interview done by the real Bahari was used against him in jail. Stewart has actor Gael Garcia Bernal re-enact it with Jason Jones.\u003c/p>\n\u003cp>Funny to American ears, the sketch, in which Jones claims to be a spy, becomes less funny when Bahari’s thrown in prison four days after it airs, and has to defend himself to an interrogator as “just a journalist.”\u003c/p>\n\u003cp>The interrogator — an excellent Kim Bodnia — calls up the interview on his computer.\u003c/p>\n\u003cp>“Can you tell me,” he wonders, “why ‘just-a-journalist’ would meet up with an American spy?”\u003c/p>\n\u003cp>Bahari, laughing, tells him it’s a comedy show, that Jones is a comedian pretending to be a spy, but that doesn’t even blunt the line of questioning.\u003c/p>\n\u003cp>“So can you tell me why an American pretending to be a spy has chosen to interview you?”\u003c/p>\n\u003cp>Jon Stewart took several months off from Comedy Central to make this movie last year, and painful as that sabbatical may have been for fans, it turns out to have been worthwhile. \u003cem>Rosewater\u003c/em> (the title references the cologne by which the usually blindfolded Bahari recognizes the interrogator) has an urgency that’s all about the storytelling smarts of its first-time writer-director. It’s also got first-rate acting, the nuance about media manipulation you’d expect from Stewart, and even cinematic grace notes, as when Bernal, in a burst of antic feeling after months of isolation, dances in his cell, remembering a Leonard Cohen song his sister played for him as a child.\u003c/p>\n\u003cp>\u003cem>Rosewater\u003c/em> — and \u003cem>Foxcatcher\u003c/em>, too — could doubtless have been anchored by other talents. Their stories needn’t have reached us, tears-of-a-clown-style, through Jon Stewart and Steve Carell. But the involvement of those comics proves a remarkable blessing, at least partly because it connects us to their sense of discovery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What could be more astonishing, after all, than being moved by those we look to for laughter. \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=Satirists+Go+Serious+in+%27Foxcatcher%27+And+%27Rosewater%27+%E2%80%94+And+It+Works&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XWgIOb_U2Hc\u003c/p>\n\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iY68ovrzfXc\u003c/p>\n\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=My1cjR0rjlI\u003c/p>\n\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, Nichols couldn’t stay away, his passion for the work still driving him after more than five decades at the top of the industry. \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=Mike+Nichols%2C+Award-Winning+Director+Of+%27The+Graduate%2C%27+%27Silkwood%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/XWgIOb_U2Hc'\n title='//www.youtube.com/embed/XWgIOb_U2Hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\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/iY68ovrzfXc'\n title='//www.youtube.com/embed/iY68ovrzfXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\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/My1cjR0rjlI'\n title='//www.youtube.com/embed/My1cjR0rjlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Nichols couldn’t stay away, his passion for the work still driving him after more than five decades at the top of the industry. \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=Mike+Nichols%2C+Award-Winning+Director+Of+%27The+Graduate%2C%27+%27Silkwood%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British science is having a cinematic moment, with \u003cem>The Theory of Everything\u003c/em> now and \u003cem>The Imitation Game\u003c/em> soon. Yet neither film has much science in it. These accounts of Stephen Hawking and Alan Turing, respectively, are engaging and well-crafted but modeled all too faithfully on old-school romantic dramas.\u003c/p>\n\u003cp>In the movie universe, scientific breakthroughs — even when they help defeat the Nazis, as Turing’s did — must be less important than love. Which, come to think of it, is also the corn-belt communique beamed back from \u003cem>Interstellar\u003c/em>, a film that relies on the cosmological savvy of Kip Thorne, one of Hawking’s closest colleagues.\u003c/p>\n\u003cp>Thorne appears briefly in \u003cem>The Theory of Everything\u003c/em>, which introduces several of Hawking’s scientific peers but focuses on a single companion: the one who wrote the book from which co-producer Anthony McCarten’s script is derived.\u003c/p>\n\u003cp>http://youtu.be/74Cl_KOO-sE\u003c/p>\n\u003cp>She’s Jane Hawking, nee Wilde, as embodied by the ideally named Felicity Jones. Pretty and vivacious, yet not so delicate as she appears, Jane is irresistible to the young Stephen (Eddie Redmayne) when he spots her at a party. This is one of many incidents depicted in the film that didn’t exactly happen. Every time an everyday event can be transformed into a movie moment, McCarten and director James Marsh (\u003cem>Man on Wire\u003c/em>) go for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In broad outline, the story they tell is true. Hawking, a brilliant Ph.D. candidate at Cambridge, is distracted and disorganized, but becomes studiously focused on Jane. He’s diagnosed with a motor neuron disease related to ALS soon after they meet, but she marries him anyway. Soon she has three young children and a husband whose body is withering.\u003c/p>\n\u003cp>The couple struggles medically and financially, but he retains his intellect and wit and she her radiance and good humor. She even learns enough of his work to illustrate the conflict between quantum mechanics and the general theory of relativity — using peas and potatoes — to Jonathan (Charlie Cox), a choirmaster who becomes an intimate family friend.\u003c/p>\n\u003cp>Stephen wins fame as the author of \u003cem>A Brief History of Time\u003c/em>, although the equation that will unify all astrophysics remains elusive. (Marsh embodies the universe in a swirling cup, quoting not Einstein but Godard’s \u003cem>Two or Three Things I Know About Her\u003c/em>.) Then pneumonia — whose operatic onset is another fictionalized episode — leads to a tracheotomy, and further loss of ability to communicate.\u003c/p>\n\u003cp>Ultimately, Jane becomes very close to Jonathan, while Stephen does the same with a therapist (Maxine Peake). And so a 25-year marriage ends, a rupture that may have been a little stormier in actuality than in this sanitized telling. Although it probably is hard to get into a shouting match with a husband who speaks through a voice synthesizer.\u003c/p>\n\u003cp>Devolving from a man who seems a bit clumsy to one who can barely move at all, Redmayne gives an impressive physical performance. It recalls Daniel Day Lewis’ in \u003cem>My Left Foot\u003c/em> — minus the rage. There’s little acrimony in \u003cem>The Theory of Everything\u003c/em>, which may reflect Hawking’s actual outlook or just the movie’s puppyish desire to please.\u003c/p>\n\u003cp> As gentle and saintly as Jennifer Connelly’s character in \u003cem>A Beautiful Mind\u003c/em>, Jones’ Jane is immensely appealing if a bit unbelievable. And since in movies the essence of female virtue is cuteness, Jane barely ages over three decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps she took a rejuvenating whirl through the wayback machine that, in one of the clunkier touches, rewinds the story at the movie’s end. Certainly it feels as if the script did, yielding the time anomaly of a 2014 film that seems to have been written when its 72-year-old protagonist was still in short pants. \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+Theory+Of+Everything%2C%27+Science+Takes+A+Back+Seat&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British science is having a cinematic moment, with \u003cem>The Theory of Everything\u003c/em> now and \u003cem>The Imitation Game\u003c/em> soon. Yet neither film has much science in it. These accounts of Stephen Hawking and Alan Turing, respectively, are engaging and well-crafted but modeled all too faithfully on old-school romantic dramas.\u003c/p>\n\u003cp>In the movie universe, scientific breakthroughs — even when they help defeat the Nazis, as Turing’s did — must be less important than love. Which, come to think of it, is also the corn-belt communique beamed back from \u003cem>Interstellar\u003c/em>, a film that relies on the cosmological savvy of Kip Thorne, one of Hawking’s closest colleagues.\u003c/p>\n\u003cp>Thorne appears briefly in \u003cem>The Theory of Everything\u003c/em>, which introduces several of Hawking’s scientific peers but focuses on a single companion: the one who wrote the book from which co-producer Anthony McCarten’s script is derived.\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/74Cl_KOO-sE'\n title='//www.youtube.com/embed/74Cl_KOO-sE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She’s Jane Hawking, nee Wilde, as embodied by the ideally named Felicity Jones. Pretty and vivacious, yet not so delicate as she appears, Jane is irresistible to the young Stephen (Eddie Redmayne) when he spots her at a party. This is one of many incidents depicted in the film that didn’t exactly happen. Every time an everyday event can be transformed into a movie moment, McCarten and director James Marsh (\u003cem>Man on Wire\u003c/em>) go for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In broad outline, the story they tell is true. Hawking, a brilliant Ph.D. candidate at Cambridge, is distracted and disorganized, but becomes studiously focused on Jane. He’s diagnosed with a motor neuron disease related to ALS soon after they meet, but she marries him anyway. Soon she has three young children and a husband whose body is withering.\u003c/p>\n\u003cp>The couple struggles medically and financially, but he retains his intellect and wit and she her radiance and good humor. She even learns enough of his work to illustrate the conflict between quantum mechanics and the general theory of relativity — using peas and potatoes — to Jonathan (Charlie Cox), a choirmaster who becomes an intimate family friend.\u003c/p>\n\u003cp>Stephen wins fame as the author of \u003cem>A Brief History of Time\u003c/em>, although the equation that will unify all astrophysics remains elusive. (Marsh embodies the universe in a swirling cup, quoting not Einstein but Godard’s \u003cem>Two or Three Things I Know About Her\u003c/em>.) Then pneumonia — whose operatic onset is another fictionalized episode — leads to a tracheotomy, and further loss of ability to communicate.\u003c/p>\n\u003cp>Ultimately, Jane becomes very close to Jonathan, while Stephen does the same with a therapist (Maxine Peake). And so a 25-year marriage ends, a rupture that may have been a little stormier in actuality than in this sanitized telling. Although it probably is hard to get into a shouting match with a husband who speaks through a voice synthesizer.\u003c/p>\n\u003cp>Devolving from a man who seems a bit clumsy to one who can barely move at all, Redmayne gives an impressive physical performance. It recalls Daniel Day Lewis’ in \u003cem>My Left Foot\u003c/em> — minus the rage. There’s little acrimony in \u003cem>The Theory of Everything\u003c/em>, which may reflect Hawking’s actual outlook or just the movie’s puppyish desire to please.\u003c/p>\n\u003cp> As gentle and saintly as Jennifer Connelly’s character in \u003cem>A Beautiful Mind\u003c/em>, Jones’ Jane is immensely appealing if a bit unbelievable. And since in movies the essence of female virtue is cuteness, Jane barely ages over three decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps she took a rejuvenating whirl through the wayback machine that, in one of the clunkier touches, rewinds the story at the movie’s end. Certainly it feels as if the script did, yielding the time anomaly of a 2014 film that seems to have been written when its 72-year-old protagonist was still in short pants. \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+Theory+Of+Everything%2C%27+Science+Takes+A+Back+Seat&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jon Stewart's 'Rosewater' Reach Exceeds His Grasp",
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"content": "\u003cp>There’s undoubtedly a farcical element to the true story told in \u003cem>Rosewater\u003c/em> that makes it seem like the ideal directorial debut for Jon Stewart.\u003c/p>\n\u003cp>The film is about \u003ca href=\"http://www.npr.org/2011/06/30/137521783/journalist-on-surviving-in-iran-don-t-name-names\" target=\"_blank\" rel=\"noopener\">Maziar Bahari\u003c/a> (Gael Garcia Bernal), who was jailed in 2009 in Tehran while covering the Iranian elections that would eventually spark widespread protests in the country. Bahari, an Iranian-Canadian based in London, was arrested after filming protests. But Stewart’s best-known connection to the story (which he adapted for the screen from Bahari’s memoir) is that a satirical interview that Bahari filmed with the \u003cem>Daily Show\u003c/em>‘s Jason Jones, which is re-created in the film, was used as evidence of his collusion with American “spies.”\u003c/p>\n\u003cp>http://youtu.be/k2D7TyCKOC0\u003c/p>\n\u003cp>It’s hard not to laugh at that confusion, but considering that Bahari was held in solitary confinement for 118 days, that he was tortured physically and psychologically, and that he was ultimately coerced into recording a confession admitting that he had betrayed Iran, the joke is a very dark one. In \u003cem>Rosewater,\u003c/em>\u003cem> \u003c/em>Stewart shows no signs that he can handle such tonally complex material.\u003c/p>\n\u003cp>There are moments in \u003cem>Rosewater\u003c/em> where Stewart’s trademark wit shines through, but he largely avoids satire here, opting instead for lighthearted sincerity. The film begins with Bahari’s arrest before flashing back to show his arrival in Tehran and the buildup of tension before the election, in which the hard-line incumbent, President Mahmoud Ahmadinejad, faced serious competition from opposition candidates. Stewart shows us Bahari interviewing both the young anti-government activists who set up illegal satellite dishes to receive foreign news and the representatives for Ahmadinejad who refuse to admit any problem or accept any criticism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mood is largely optimistic in these opening scenes even as it’s clear that a dark turn is coming in the story. At one point, during a montage of demonstrations in Tehran, a web of hashtags like #democracy and #protest floats by on screen. The sense here is of a government that’s out of touch, and an opposition that’s the obvious future of the country.\u003c/p>\n\u003cp>It’s all pretty tepid until the movie turns to Bahari’s incarceration, at which point Stewart’s choices become more disconcerting. The issue is not necessarily one of treating Bahari’s story tastefully; in fact, Stewart may have been too tasteful here. He packs jokes into a horrific situation, but never any that come close to ruffling feathers. Instead, they’re predictable knocks against the kinds of insular interrogators and government officials that wouldn’t be able to recognize the \u003cem>Daily Show’\u003c/em>s satire.\u003c/p>\n\u003cp>It’s also not necessarily a problem of Stewart’s choosing the wrong tone entirely. Rather, he vacillates between too many of them. When Stewart features news footage of a debate between Ahmadinejad and one of his main challengers, opposition leader Mir Hossein Mousavi, or real video of the violence against those protesting the contested election results, the most serious concerns surrounding Bahari’s arrest come into view. But in other moments, Stewart takes a more dismissive approach, treating Bahari’s interrogator, for example, as an unappreciated buffoon looking for recognition from his superiors. In those moments, Stewart seems to want to turn these men into trifling figures, refusing to give them even the benefit of serious treatment. There are times, too, when the film takes a more broadly inspirational tone, addressing itself to Bahari’s resolute spirit — itself an allegory, it would seem, for Iran’s quelled opposition.\u003c/p>\n\u003cp>One can imagine a film that combined these various approaches into a cohesive story, but in \u003cem>Rosewater\u003c/em> they’re blindly tossed together, and the result neither portrays the suffering of Bahari’s incarceration adequately nor lampoons the absurdities of the situation.\u003c/p>\n\u003cp>Even if nothing in \u003cem>Rosewater \u003c/em>makes you question Stewart’s good intentions in making the film, it’s hard to shake the the feeling that by taking a summer off from the \u003cem>Daily Show\u003c/em> to film the movie in Jordan, Stewart performed the equivalent of parachute journalism and cobbled together what plays as a watered-down version of Bahari’s story.\u003c/p>\n\u003cp>There’s little chance you’ll emerge from \u003cem>Rosewater\u003c/em> knowing much more about Iranian politics than when you started. The film admirably protests censorship and political repression, but it doesn’t push very hard to reveal new truths. It only superficially gets into what drove the protests Bahari was covering. And while it eventually acknowledges that the story of a foreign journalist with governments and international activists calling for his release says little about life for Iranians under the current regime, the admission comes late in the film and simply leaves it to other movies to dig deeper into the story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, of course, many have, including recent films like \u003ca href=\"http://www.npr.org/2014/06/12/321324973/in-manuscripts-a-barred-filmmaker-considers-dissident-art\" target=\"_blank\" rel=\"noopener\">Manuscripts Don’t Burn\u003c/a> and \u003ca href=\"http://www.npr.org/2014/07/10/330207735/a-closed-curtain-conceals-a-directors-real-confinement\" target=\"_blank\" rel=\"noopener\">Closed Curtain\u003c/a>, both made by Iranian dissident filmmakers who have \u003ca href=\"http://articles.latimes.com/2011/jan/14/entertainment/la-et-iranian-director-20110114\" target=\"_blank\" rel=\"noopener\">worked in defiance of official bans\u003c/a>. Those are stories that open a window onto a closed society. The usefulness of \u003cem>Rosewater,\u003c/em> meanwhile, seems limited to telling the story of one journalist who crossed paths with a well-connected American. \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=Jon+Stewart%27s+%27Rosewater%27+Reach+Exceeds+His+Grasp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s undoubtedly a farcical element to the true story told in \u003cem>Rosewater\u003c/em> that makes it seem like the ideal directorial debut for Jon Stewart.\u003c/p>\n\u003cp>The film is about \u003ca href=\"http://www.npr.org/2011/06/30/137521783/journalist-on-surviving-in-iran-don-t-name-names\" target=\"_blank\" rel=\"noopener\">Maziar Bahari\u003c/a> (Gael Garcia Bernal), who was jailed in 2009 in Tehran while covering the Iranian elections that would eventually spark widespread protests in the country. Bahari, an Iranian-Canadian based in London, was arrested after filming protests. But Stewart’s best-known connection to the story (which he adapted for the screen from Bahari’s memoir) is that a satirical interview that Bahari filmed with the \u003cem>Daily Show\u003c/em>‘s Jason Jones, which is re-created in the film, was used as evidence of his collusion with American “spies.”\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/k2D7TyCKOC0'\n title='//www.youtube.com/embed/k2D7TyCKOC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s hard not to laugh at that confusion, but considering that Bahari was held in solitary confinement for 118 days, that he was tortured physically and psychologically, and that he was ultimately coerced into recording a confession admitting that he had betrayed Iran, the joke is a very dark one. In \u003cem>Rosewater,\u003c/em>\u003cem> \u003c/em>Stewart shows no signs that he can handle such tonally complex material.\u003c/p>\n\u003cp>There are moments in \u003cem>Rosewater\u003c/em> where Stewart’s trademark wit shines through, but he largely avoids satire here, opting instead for lighthearted sincerity. The film begins with Bahari’s arrest before flashing back to show his arrival in Tehran and the buildup of tension before the election, in which the hard-line incumbent, President Mahmoud Ahmadinejad, faced serious competition from opposition candidates. Stewart shows us Bahari interviewing both the young anti-government activists who set up illegal satellite dishes to receive foreign news and the representatives for Ahmadinejad who refuse to admit any problem or accept any criticism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mood is largely optimistic in these opening scenes even as it’s clear that a dark turn is coming in the story. At one point, during a montage of demonstrations in Tehran, a web of hashtags like #democracy and #protest floats by on screen. The sense here is of a government that’s out of touch, and an opposition that’s the obvious future of the country.\u003c/p>\n\u003cp>It’s all pretty tepid until the movie turns to Bahari’s incarceration, at which point Stewart’s choices become more disconcerting. The issue is not necessarily one of treating Bahari’s story tastefully; in fact, Stewart may have been too tasteful here. He packs jokes into a horrific situation, but never any that come close to ruffling feathers. Instead, they’re predictable knocks against the kinds of insular interrogators and government officials that wouldn’t be able to recognize the \u003cem>Daily Show’\u003c/em>s satire.\u003c/p>\n\u003cp>It’s also not necessarily a problem of Stewart’s choosing the wrong tone entirely. Rather, he vacillates between too many of them. When Stewart features news footage of a debate between Ahmadinejad and one of his main challengers, opposition leader Mir Hossein Mousavi, or real video of the violence against those protesting the contested election results, the most serious concerns surrounding Bahari’s arrest come into view. But in other moments, Stewart takes a more dismissive approach, treating Bahari’s interrogator, for example, as an unappreciated buffoon looking for recognition from his superiors. In those moments, Stewart seems to want to turn these men into trifling figures, refusing to give them even the benefit of serious treatment. There are times, too, when the film takes a more broadly inspirational tone, addressing itself to Bahari’s resolute spirit — itself an allegory, it would seem, for Iran’s quelled opposition.\u003c/p>\n\u003cp>One can imagine a film that combined these various approaches into a cohesive story, but in \u003cem>Rosewater\u003c/em> they’re blindly tossed together, and the result neither portrays the suffering of Bahari’s incarceration adequately nor lampoons the absurdities of the situation.\u003c/p>\n\u003cp>Even if nothing in \u003cem>Rosewater \u003c/em>makes you question Stewart’s good intentions in making the film, it’s hard to shake the the feeling that by taking a summer off from the \u003cem>Daily Show\u003c/em> to film the movie in Jordan, Stewart performed the equivalent of parachute journalism and cobbled together what plays as a watered-down version of Bahari’s story.\u003c/p>\n\u003cp>There’s little chance you’ll emerge from \u003cem>Rosewater\u003c/em> knowing much more about Iranian politics than when you started. The film admirably protests censorship and political repression, but it doesn’t push very hard to reveal new truths. It only superficially gets into what drove the protests Bahari was covering. And while it eventually acknowledges that the story of a foreign journalist with governments and international activists calling for his release says little about life for Iranians under the current regime, the admission comes late in the film and simply leaves it to other movies to dig deeper into the story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, of course, many have, including recent films like \u003ca href=\"http://www.npr.org/2014/06/12/321324973/in-manuscripts-a-barred-filmmaker-considers-dissident-art\" target=\"_blank\" rel=\"noopener\">Manuscripts Don’t Burn\u003c/a> and \u003ca href=\"http://www.npr.org/2014/07/10/330207735/a-closed-curtain-conceals-a-directors-real-confinement\" target=\"_blank\" rel=\"noopener\">Closed Curtain\u003c/a>, both made by Iranian dissident filmmakers who have \u003ca href=\"http://articles.latimes.com/2011/jan/14/entertainment/la-et-iranian-director-20110114\" target=\"_blank\" rel=\"noopener\">worked in defiance of official bans\u003c/a>. Those are stories that open a window onto a closed society. The usefulness of \u003cem>Rosewater,\u003c/em> meanwhile, seems limited to telling the story of one journalist who crossed paths with a well-connected American. \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=Jon+Stewart%27s+%27Rosewater%27+Reach+Exceeds+His+Grasp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Interstellar': Stunning And Bold, With Lots Of Corn",
"headTitle": "‘Interstellar’: Stunning And Bold, With Lots Of Corn | KQED",
"content": "\u003cp>Time is a circle, just like Matthew McConaughey said in \u003cem>True Detective\u003c/em>. But it isn’t flat. It’s spherical.\u003c/p>\n\u003cp>\u003cem>Interstellar\u003c/em>, Christopher Nolan’s saline-and-starlight-streaked space-time epic, is so beautiful and ambitious and enveloping that to tick down its imperfections — drippy homilies about how love, especially the paternal kind, can transcend dimensions; an over-investment in its widower McCona-hero’s Chuck Yeager/Han Solo-esque expertise on the stick; abuse of a familiar Dylan Thomas quote — ultimately feels small. Released the week after two spaceflight disasters, one of them fatal, the movie is at once a hardscrabble vision of humanity’s darkest night (it opens with talking-head clips from Ken Burns’ 2012 PBS documentary \u003cem>The Dust Bowl\u003c/em> cannily blended with new footage) and a forceful — if not wholly convincing — declaration that we shall outlive our home planet. Human Exceptionalism, you might call its philosophy.\u003c/p>\n\u003cp>http://youtu.be/0vxOhd4qlnA\u003c/p>\n\u003cp>And yet of all the (not that many) kinda-sorta-plausible-ish space exploration flicks to launch since \u003cem>2001: A Space Odyssey\u003c/em> — which predated Neil Armstrong’s historic moonwalk by more than a year — \u003cem>Interstellar\u003c/em> is the most mercilessly awe-inducing. Even if you gag on its payload of sentiment, as many have and shall, it is the film of 2014 that demands to be experienced on the biggest screen available. Nolan would prefer that you see it in 70mm IMAX if you can; Paramount is making a well-publicized exception to its recent switch to exclusively digital exhibition formats just for him. That’s what three wildly successful Bat-movies buy you.\u003c/p>\n\u003cp>In the scenario cooked up by Nolan’s brother Jonathan, with an intellectual kick-start from astrophysicist Kip Thorne, our spendthrift 20th century ways have caught up with us in the unspecified middle or late 21st. Global famine and food wars have drastically thinned our herd. Militaries have disbanded (say what?), and almost everyone — even hotshot former test pilots like our man Cooper, who remembers the Good Old Days even though he’s only in his 40s — works the land, which now yields only corn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>NASA is a secret organization led by Michael Caine, Nolan’s go-to man for gravitas. In fact, his character is literally a gravity expert, one who has spent decades trying to crack an equation that will enable humanity’s migration to Somewhere Else. What’s more, his team — Anne Hathaway, David Gyasi and Wes Bentley, plus a sarcastic military-surplus robot voiced and manipulated, at least in some scenes, by the brilliant, elastic-limbed clown Bill Irwin — have identified a dozen potentially habitable planets accessible via wormhole, those express lanes across the cosmos that Thorne has theorized. NASA’s best guess is that the wormhole and the planets were put there for us by extraterrestrial intellects vast, cool and weirdly sympathetic. But they need Cooper’s Right Stuff to get to Saturn, where the wormhole is. It’s unclear who was going to handle the driving if an eventually explained series of mysterious portents hadn’t led Cooper and Murph, his 10-year-old budding genius daughter, to their secret lair.\u003c/p>\n\u003cp>The Earthbound first act feels a lot like the Spielberg picture this was once set to be. (Also like M. Night Shyamalan’s thriller \u003cem>Signs\u003c/em>, starring America’s favorite stoic widower circa 2002, Mel Gibson.) As with every Nolan movie, there’s a clockwork narrative logic to it that eventually reveals itself, even if your willing suspension of disbelief has burned up by then.\u003c/p>\n\u003cp>Anyway, Cooper must leave behind his two kids — Murph and Tom, her less gifted big brother — to try to save the species. Kubrick wouldn’t have wasted a tear on an equation as lopsided as that, but Nolan turns on the waterworks (and Hans Zimmer’s church-organ score), cutting from the bereft Cooper’s drive away from his Norman Rockwell-esque house to the countdown of his rocket. It’s the first of many bravura dialogue-free moments that make \u003cem>Interstellar\u003c/em>‘s 169 minutes feel … well, like less than 169 minutes. (I saw it twice in three days and I was never bored.) Here’s another: Their spacecraft, bearing the weary designation \u003cem>Endurance\u003c/em>, pinwheels across the rings of Saturn while we hear the thunderstorm-sounds recording Gyasi is playing on his headphones.\u003c/p>\n\u003cp>I wouldn’t have minded a bit if Nolan had lingered on these space vistas more than he does. (Cinematographer Hoyte van Hoytema, of \u003cem>Let the Right One In\u003c/em> and \u003cem>Her\u003c/em>, has composed frames well worth the extra few bucks to see them in true IMAX.) But he’s got a supermassive (and highly spoilable) story to tell, one that keeps him rushing even given the lengthy run time. One thing Kubrick never was was \u003cem>hurried\u003c/em>.\u003c/p>\n\u003cp>Iceland stands in for a pair of beautiful, forbidding planets, but its most stunning environments are computer visualizations born of legit science: Thorne gave the film’s army of digital effects artists the equations to visualize both the wormhole and the black hole seen in the film, leading to breakthroughs in “gravitational lensing.” Nolan had reserved the right to assert artistic license if the images Thorne’s equations produced were too plain or simply too weird for audiences to process, but the objects his data generated — a shiny black soap-bubble in space, and a black hole with a fiery halo of starlight wrapped around it like the string of a yo-yo — are what we see. “This is our observational data,” Thorne\u003ca href=\"http://www.wired.com/2014/10/astrophysics-interstellar-black-hole/\" target=\"_blank\" rel=\"noopener\"> told Wired magazine\u003c/a>. “That’s the way nature behaves. Period.” (This is not to say others don’t take issue with the science on the whole, as astronomer Phil Plait \u003ca href=\"http://www.slate.com/articles/health_and_science/space_20/2014/11/interstellar_science_review_the_movie_s_black_holes_wormholes_relativity.html\" target=\"_blank\" rel=\"noopener\">does in Slate\u003c/a>.)\u003c/p>\n\u003cp>Nolan made his name with \u003cem>Memento\u003c/em>, a tricksy mystery that moved in two temporal directions at once. In the 14 years since, his movies have swollen to monumental scale, but he still compresses and elongates the fourth dimension more poetically than any other blockbuster-maker. Who better than him to make a film dealing so explicitly with relativity?\u003c/p>\n\u003cp>Other good sci-fi pictures have addressed the existential, sanity-testing loneliness of sailing across eternity in a can. \u003cem>Interstellar\u003c/em> does that, too, but it’s probably the first presumptive blockbuster to grapple, even clumsily, with the problem that everyone you loved back on your home world would almost certainly grow to surpass you in age. (It takes two years in cryo-sleep just to get to the wormhole, apart from the time-dilation problem.) Some of the consequences of this make for stirring, emotional stuff, even if the movie isn’t as profound as it wants us to believe.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nolan, a director often accused of coldness, finally got all mushy when he went to outer space. I can’t solve that equation, but I’ve enjoyed trying to scratch it out. \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=%27Interstellar%27%3A+Stunning+And+Bold%2C+With+Lots+Of+Corn&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Time is a circle, just like Matthew McConaughey said in \u003cem>True Detective\u003c/em>. But it isn’t flat. It’s spherical.\u003c/p>\n\u003cp>\u003cem>Interstellar\u003c/em>, Christopher Nolan’s saline-and-starlight-streaked space-time epic, is so beautiful and ambitious and enveloping that to tick down its imperfections — drippy homilies about how love, especially the paternal kind, can transcend dimensions; an over-investment in its widower McCona-hero’s Chuck Yeager/Han Solo-esque expertise on the stick; abuse of a familiar Dylan Thomas quote — ultimately feels small. Released the week after two spaceflight disasters, one of them fatal, the movie is at once a hardscrabble vision of humanity’s darkest night (it opens with talking-head clips from Ken Burns’ 2012 PBS documentary \u003cem>The Dust Bowl\u003c/em> cannily blended with new footage) and a forceful — if not wholly convincing — declaration that we shall outlive our home planet. Human Exceptionalism, you might call its philosophy.\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/0vxOhd4qlnA'\n title='//www.youtube.com/embed/0vxOhd4qlnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet of all the (not that many) kinda-sorta-plausible-ish space exploration flicks to launch since \u003cem>2001: A Space Odyssey\u003c/em> — which predated Neil Armstrong’s historic moonwalk by more than a year — \u003cem>Interstellar\u003c/em> is the most mercilessly awe-inducing. Even if you gag on its payload of sentiment, as many have and shall, it is the film of 2014 that demands to be experienced on the biggest screen available. Nolan would prefer that you see it in 70mm IMAX if you can; Paramount is making a well-publicized exception to its recent switch to exclusively digital exhibition formats just for him. That’s what three wildly successful Bat-movies buy you.\u003c/p>\n\u003cp>In the scenario cooked up by Nolan’s brother Jonathan, with an intellectual kick-start from astrophysicist Kip Thorne, our spendthrift 20th century ways have caught up with us in the unspecified middle or late 21st. Global famine and food wars have drastically thinned our herd. Militaries have disbanded (say what?), and almost everyone — even hotshot former test pilots like our man Cooper, who remembers the Good Old Days even though he’s only in his 40s — works the land, which now yields only corn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NASA is a secret organization led by Michael Caine, Nolan’s go-to man for gravitas. In fact, his character is literally a gravity expert, one who has spent decades trying to crack an equation that will enable humanity’s migration to Somewhere Else. What’s more, his team — Anne Hathaway, David Gyasi and Wes Bentley, plus a sarcastic military-surplus robot voiced and manipulated, at least in some scenes, by the brilliant, elastic-limbed clown Bill Irwin — have identified a dozen potentially habitable planets accessible via wormhole, those express lanes across the cosmos that Thorne has theorized. NASA’s best guess is that the wormhole and the planets were put there for us by extraterrestrial intellects vast, cool and weirdly sympathetic. But they need Cooper’s Right Stuff to get to Saturn, where the wormhole is. It’s unclear who was going to handle the driving if an eventually explained series of mysterious portents hadn’t led Cooper and Murph, his 10-year-old budding genius daughter, to their secret lair.\u003c/p>\n\u003cp>The Earthbound first act feels a lot like the Spielberg picture this was once set to be. (Also like M. Night Shyamalan’s thriller \u003cem>Signs\u003c/em>, starring America’s favorite stoic widower circa 2002, Mel Gibson.) As with every Nolan movie, there’s a clockwork narrative logic to it that eventually reveals itself, even if your willing suspension of disbelief has burned up by then.\u003c/p>\n\u003cp>Anyway, Cooper must leave behind his two kids — Murph and Tom, her less gifted big brother — to try to save the species. Kubrick wouldn’t have wasted a tear on an equation as lopsided as that, but Nolan turns on the waterworks (and Hans Zimmer’s church-organ score), cutting from the bereft Cooper’s drive away from his Norman Rockwell-esque house to the countdown of his rocket. It’s the first of many bravura dialogue-free moments that make \u003cem>Interstellar\u003c/em>‘s 169 minutes feel … well, like less than 169 minutes. (I saw it twice in three days and I was never bored.) Here’s another: Their spacecraft, bearing the weary designation \u003cem>Endurance\u003c/em>, pinwheels across the rings of Saturn while we hear the thunderstorm-sounds recording Gyasi is playing on his headphones.\u003c/p>\n\u003cp>I wouldn’t have minded a bit if Nolan had lingered on these space vistas more than he does. (Cinematographer Hoyte van Hoytema, of \u003cem>Let the Right One In\u003c/em> and \u003cem>Her\u003c/em>, has composed frames well worth the extra few bucks to see them in true IMAX.) But he’s got a supermassive (and highly spoilable) story to tell, one that keeps him rushing even given the lengthy run time. One thing Kubrick never was was \u003cem>hurried\u003c/em>.\u003c/p>\n\u003cp>Iceland stands in for a pair of beautiful, forbidding planets, but its most stunning environments are computer visualizations born of legit science: Thorne gave the film’s army of digital effects artists the equations to visualize both the wormhole and the black hole seen in the film, leading to breakthroughs in “gravitational lensing.” Nolan had reserved the right to assert artistic license if the images Thorne’s equations produced were too plain or simply too weird for audiences to process, but the objects his data generated — a shiny black soap-bubble in space, and a black hole with a fiery halo of starlight wrapped around it like the string of a yo-yo — are what we see. “This is our observational data,” Thorne\u003ca href=\"http://www.wired.com/2014/10/astrophysics-interstellar-black-hole/\" target=\"_blank\" rel=\"noopener\"> told Wired magazine\u003c/a>. “That’s the way nature behaves. Period.” (This is not to say others don’t take issue with the science on the whole, as astronomer Phil Plait \u003ca href=\"http://www.slate.com/articles/health_and_science/space_20/2014/11/interstellar_science_review_the_movie_s_black_holes_wormholes_relativity.html\" target=\"_blank\" rel=\"noopener\">does in Slate\u003c/a>.)\u003c/p>\n\u003cp>Nolan made his name with \u003cem>Memento\u003c/em>, a tricksy mystery that moved in two temporal directions at once. In the 14 years since, his movies have swollen to monumental scale, but he still compresses and elongates the fourth dimension more poetically than any other blockbuster-maker. Who better than him to make a film dealing so explicitly with relativity?\u003c/p>\n\u003cp>Other good sci-fi pictures have addressed the existential, sanity-testing loneliness of sailing across eternity in a can. \u003cem>Interstellar\u003c/em> does that, too, but it’s probably the first presumptive blockbuster to grapple, even clumsily, with the problem that everyone you loved back on your home world would almost certainly grow to surpass you in age. (It takes two years in cryo-sleep just to get to the wormhole, apart from the time-dilation problem.) Some of the consequences of this make for stirring, emotional stuff, even if the movie isn’t as profound as it wants us to believe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nolan, a director often accused of coldness, finally got all mushy when he went to outer space. I can’t solve that equation, but I’ve enjoyed trying to scratch it out. \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=%27Interstellar%27%3A+Stunning+And+Bold%2C+With+Lots+Of+Corn&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Off to the side of the wickedly funny Swedish black comedy \u003cem>Force Majeure\u003c/em> lurks a minor but significant figure with a sour, slightly saturnine face. The man is a cleaner in a fancy French Alps ski hotel and he hardly says a word. But his wordless hovering inspires dread, nervous laughter or both. Which pretty much sums up \u003cem>Force Majeure\u003c/em>‘s adroit shifts of tone, and quite possibly its director’s take on the ways of the hip urban bourgeoisie.\u003c/p>\n\u003cp>Cleaners dig for dirt, and this expressionless snooper keeps popping up to intrude on the unraveling of a seemingly perfect couple. They’re so wrapped up in their bickering efforts to restore equilibrium, they fail to notice that they’ve locked their two young children in a room with a creepy stranger who could pass for an ax murderer.\u003c/p>\n\u003cp>A successful businessman who seems equally pleased with his good looks and his cell phone, Tomas (Johannes Bah Kuhnke) has come to this pricy resort to relax with his trophy wife, Ebba (Lisa Loven Kingsli), and their two children. They make a sleek, perfect domestic unit in a perfect, smooth-running hotel, all clean lines and blond wood.\u003c/p>\n\u003cp>http://youtu.be/tZZhB6AUo9k\u003c/p>\n\u003cp>Well, forget that: \u003cem>Force Majeure\u003c/em> is framed around the fast-moving degradation of the couple’s week-long vacation, which heads south after a supposedly controlled explosion backfires, setting off an avalanche that bears down on the family’s patio lunch. Instead of protecting his family, Tomas snatches up his phone and takes off. So much for alpha males, and it’s not over yet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Physically, everyone’s fine, but a shocked Ebba can’t stop repeating the story of her husband’s escape to anyone who will listen, as well as some who’d rather not. The couple’s unease quickly infects the friends who join them: a red-headed, hyper-masculine Viking type (Kristofer Hivju) who looks a bit like an escapee from the set of \u003cem>Brave\u003c/em>, and his pert, much younger girlfriend (Fanni Metelius). Here, writer-director Ruben Ostlund pauses to poke more fun at patriarchy, but no one in this increasingly unpleasant, hapless crew gets off unscathed.\u003c/p>\n\u003cp>Ostlund is a gifted creator of malignant ambience, which he masterfully uses to keep his audience wound tight and unsure whether the payoff in catastrophe will be physical, emotional or both. He bathes us in pervasive unease (electric toothbrushes play a recurring role) rendered all the more sinister by a snowy backdrop of breathtaking blues and grays.\u003c/p>\n\u003cp>Of course, nature is no more authentic than anything else in this fiendishly contrived movie, in which natural beauty is CG-enhanced to the point of hysteria: The heavy silence is disturbed only by the soft swish of skis on pristine snow or the brittle chatter of ski-suited hotel guests seeking hookups. Those man-made explosions elicit jumps, but in no way prepare you for the feral misbehavior that disrupts this borderline fascistic milieu, only to disappear into white fog — then reappear for encores.\u003c/p>\n\u003cp>In one of the film most entertaining moments, an unhinged Tomas sinks to the floor and launches into a confession like a fearful 8-year-old. Yet Ostlund isn’t just getting under the skin of a smug bourgeois marriage. \u003cem>Force Majeure\u003c/em> is about the paper-thin fragility of civilization itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not a terribly original insight, but it’s cunningly driven home by a crucial turn of the screw when a crowd of homeward-bound vacationers walks down a mountain in a kind of ecstatic silence, aware of precisely how much human frailty they share in common. Metaphorically speaking, one in particular has just been dragged from a very high horse. Let’s just say that that person’s consort is quite pleased. \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+%27Force+Majeure%2C%27+Society+Crumbles+Under+An+Avalanche&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Off to the side of the wickedly funny Swedish black comedy \u003cem>Force Majeure\u003c/em> lurks a minor but significant figure with a sour, slightly saturnine face. The man is a cleaner in a fancy French Alps ski hotel and he hardly says a word. But his wordless hovering inspires dread, nervous laughter or both. Which pretty much sums up \u003cem>Force Majeure\u003c/em>‘s adroit shifts of tone, and quite possibly its director’s take on the ways of the hip urban bourgeoisie.\u003c/p>\n\u003cp>Cleaners dig for dirt, and this expressionless snooper keeps popping up to intrude on the unraveling of a seemingly perfect couple. They’re so wrapped up in their bickering efforts to restore equilibrium, they fail to notice that they’ve locked their two young children in a room with a creepy stranger who could pass for an ax murderer.\u003c/p>\n\u003cp>A successful businessman who seems equally pleased with his good looks and his cell phone, Tomas (Johannes Bah Kuhnke) has come to this pricy resort to relax with his trophy wife, Ebba (Lisa Loven Kingsli), and their two children. They make a sleek, perfect domestic unit in a perfect, smooth-running hotel, all clean lines and blond wood.\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/tZZhB6AUo9k'\n title='//www.youtube.com/embed/tZZhB6AUo9k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, forget that: \u003cem>Force Majeure\u003c/em> is framed around the fast-moving degradation of the couple’s week-long vacation, which heads south after a supposedly controlled explosion backfires, setting off an avalanche that bears down on the family’s patio lunch. Instead of protecting his family, Tomas snatches up his phone and takes off. So much for alpha males, and it’s not over yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Physically, everyone’s fine, but a shocked Ebba can’t stop repeating the story of her husband’s escape to anyone who will listen, as well as some who’d rather not. The couple’s unease quickly infects the friends who join them: a red-headed, hyper-masculine Viking type (Kristofer Hivju) who looks a bit like an escapee from the set of \u003cem>Brave\u003c/em>, and his pert, much younger girlfriend (Fanni Metelius). Here, writer-director Ruben Ostlund pauses to poke more fun at patriarchy, but no one in this increasingly unpleasant, hapless crew gets off unscathed.\u003c/p>\n\u003cp>Ostlund is a gifted creator of malignant ambience, which he masterfully uses to keep his audience wound tight and unsure whether the payoff in catastrophe will be physical, emotional or both. He bathes us in pervasive unease (electric toothbrushes play a recurring role) rendered all the more sinister by a snowy backdrop of breathtaking blues and grays.\u003c/p>\n\u003cp>Of course, nature is no more authentic than anything else in this fiendishly contrived movie, in which natural beauty is CG-enhanced to the point of hysteria: The heavy silence is disturbed only by the soft swish of skis on pristine snow or the brittle chatter of ski-suited hotel guests seeking hookups. Those man-made explosions elicit jumps, but in no way prepare you for the feral misbehavior that disrupts this borderline fascistic milieu, only to disappear into white fog — then reappear for encores.\u003c/p>\n\u003cp>In one of the film most entertaining moments, an unhinged Tomas sinks to the floor and launches into a confession like a fearful 8-year-old. Yet Ostlund isn’t just getting under the skin of a smug bourgeois marriage. \u003cem>Force Majeure\u003c/em> is about the paper-thin fragility of civilization itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not a terribly original insight, but it’s cunningly driven home by a crucial turn of the screw when a crowd of homeward-bound vacationers walks down a mountain in a kind of ecstatic silence, aware of precisely how much human frailty they share in common. Metaphorically speaking, one in particular has just been dragged from a very high horse. Let’s just say that that person’s consort is quite pleased. \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+%27Force+Majeure%2C%27+Society+Crumbles+Under+An+Avalanche&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tom Magliozzi, Popular Co-Host of NPR's 'Car Talk,' Dies at 77",
"headTitle": "Tom Magliozzi, Popular Co-Host of NPR’s ‘Car Talk,’ Dies at 77 | KQED",
"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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"excerpt": "Tom Magliozzi bantered weekly with his brother, Ray, on the public radio show\u003cem>.\u003c/em> They joked, laughed and sometimes even gave good advice to listeners with car troubles. Tom Magliozzi was 77 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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. 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\u003c/div>\u003c/p>",
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"title": "Remembering All Night Fright Fests and Halloween Horrorthons",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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",
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},
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},
"perspectives": {
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"order": 14
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"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.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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