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"content": "\u003cp>If you’re midflight and the movie is terrible and the airline magazine crossword puzzle has already been done by someone else, the SkyMall\u003cem> \u003c/em>catalog is the time-killer of last resort for the bored, boxed-in passenger.\u003c/p>\n\u003cp>SkyMall sells items that, under normal circumstances, you might never consider — like say, adult-size, unisex, one-piece Superman pajamas. 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Kasper Hauser members Rob Baedeker and James and John Reichmuth join NPR’s Robert Siegel to discuss some products that you can almost certainly live without.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On their home improvement products, like the Cave Repainting Set and the Condo Pony\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>James Reichmuth:\u003c/strong> You may know what a terrible graffiti problem they had in the Pleistocene Era. And many of Europe’s best caves have been defaced by stick figures. … We have come up with a cave repainting set which just allows you, very handily and easily, to paint over these old caves and get them baby, room, or man-cave-ready. Folks, those horses are just doodles — lighten up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Rob Baedeker:\u003c/strong> Designer pets are all the rage these days. Ours is called the Condo Pony. It’s a little horse that just kind of clomps around the condo. The motto is: \u003cem>Condo doesn’t have to mean no pony no more.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On the Forever Diaper\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144257\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\" alt=\""Never needs changing. Not once. ... Put this on when they're born, sit back, and watch the joy that every baby gives off."\" width=\"200\" height=\"136\" class=\"size-full wp-image-10144257\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Never needs changing. 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Whether you are a narcissist … a martyr … a baby … it just cuts to the chase and just makes things much more efficient.\u003c/p>\n\u003cfigure id=\"attachment_10144260\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\" alt=\"Personality Alert\" width=\"200\" height=\"261\" class=\"size-full wp-image-10144260\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Personality Alert\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> I wear one of these. I’m wearing one now. It just says: Tuna makes me sleepy. … It’s just something that you want people that are close to you to know. 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"content": "\u003cp>The grumpy geezer Bill Murray plays in Ted Melfi’s gentle comedy \u003cem>St. Vincent\u003c/em> is not exactly a stretch. Vincent is a down-on-his-luck gent festering in a falling-down row house on the butt end of Brooklyn. Familiar stuff happens: A little boy named Oliver with bowl-cut hair and a noticeably absent father moves in next door with his mother, Maggie (Melissa McCarthy).\u003c/p>\n\u003cp>Oliver, who’s played without undue cuteness by newcomer Jaeden Lieberher, is wise beyond his years, but puny and in need of help seeing off the school bully. Vincent is nobody’s idea of \u003cem>in loco parentis\u003c/em>, but he needs the babysitting money and can offer Oliver the school of life via lessons in self-defense, trips to the racetrack and dive bars, etc., etc.\u003c/p>\n\u003cp>In return, Oliver offers living proof that some kids possess innate resilience, common sense and optimism that function independently of the rotten things that life hands them.\u003c/p>\n\u003cp>http://youtu.be/9dP5lJnJHXg\u003c/p>\n\u003cp>Other kooks are fed into the mix to create a cobbled-together family of putative losers. Naomi Watts, in tacky dress and a creditable Russian accent as a pregnant hooker, sashays in for weekly appointments with Vincent. Chris O’Dowd is Oliver’s sympathetic Catholic-school priest, and Terrence Howard makes a none-too-sinister loan shark trying to collect from Vincent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Off to the side, there’s a pretty woman (Donna Mitchell) in assisted living whose relationship to Vincent signals the takeaway — which is that we don’t know anyone’s story, not really, until we get up close.\u003c/p>\n\u003cp>And even then, only if we’re allowed in. In this film we are.\u003c/p>\n\u003cp>\u003cem>St. Vincent\u003c/em> brings no fresh news. But the movie is sweet, kind and mostly crisply written. The round-the-clock aggravation and proximity to disaster that poverty brings is acutely observed, along with the persistent vitality of neglected neighborhoods and those who, willy-nilly, land in them.\u003c/p>\n\u003cp>Melfi provides Melissa McCarthy with a fine chance to do something other than throw herself around. She’s dandy at that too, but it’s a treat to watch her dial it down for a role that has nothing to do with her size or her precise gift for physical comedy. Here she’s a pretty great mother who has the smarts and the open mind to stop doing one big thing wrong for herself and her son.\u003c/p>\n\u003cp>There’s a long, probably improvised sequence to go with the end credits of \u003cem>St. Vincent\u003c/em>, with Murray sitting on a bench in Vincent’s yard, doing goofy things with a garden hose. Bob Dylan is involved, for slightly too obvious thematic reasons.\u003c/p>\n\u003cp>But even when disaster comes to Vincent in spades, Murray’s doing what he always does, which always looks as though it’s not much. He says his lines, lifts his eyebrows or his hands, palms up. Now and again he throws a hissy fit or falls down. Mostly, he lets things happen around him while occupying the movie’s center, patiently waiting for something to happen to show that he’s less disaffected than he seems.\u003c/p>\n\u003cp>I’ll be darned if I know what it is that Murray does with all this doing nothing, but somehow he’s also been the guy to make you believe in a television newscaster who wakes up to the same lousy Groundhog Day every day until Andie MacDowell rides to the rescue. More preposterous yet, he makes you suspend all disbelief that, in \u003cem>Lost in Translation\u003c/em>, a woman who looks like Scarlett Johansson could possibly fall for a depressive has-been who looks like Bill Murray.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can put Murray in a drama or a comedy or almost anything that isn’t too loud or too busy, and he’ll drain the goo without also ditching the humanity. In this instance, he’s the perfect guy to carry the movie’s pleasantly ordinary tune, which sings that saints are nothing but flawed people doing good. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Murray+Doesn%27t+Do+Much%2C+But+He+Does+It+So+Well+In+%27St.+Vincent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Off to the side, there’s a pretty woman (Donna Mitchell) in assisted living whose relationship to Vincent signals the takeaway — which is that we don’t know anyone’s story, not really, until we get up close.\u003c/p>\n\u003cp>And even then, only if we’re allowed in. In this film we are.\u003c/p>\n\u003cp>\u003cem>St. Vincent\u003c/em> brings no fresh news. But the movie is sweet, kind and mostly crisply written. The round-the-clock aggravation and proximity to disaster that poverty brings is acutely observed, along with the persistent vitality of neglected neighborhoods and those who, willy-nilly, land in them.\u003c/p>\n\u003cp>Melfi provides Melissa McCarthy with a fine chance to do something other than throw herself around. She’s dandy at that too, but it’s a treat to watch her dial it down for a role that has nothing to do with her size or her precise gift for physical comedy. Here she’s a pretty great mother who has the smarts and the open mind to stop doing one big thing wrong for herself and her son.\u003c/p>\n\u003cp>There’s a long, probably improvised sequence to go with the end credits of \u003cem>St. Vincent\u003c/em>, with Murray sitting on a bench in Vincent’s yard, doing goofy things with a garden hose. Bob Dylan is involved, for slightly too obvious thematic reasons.\u003c/p>\n\u003cp>But even when disaster comes to Vincent in spades, Murray’s doing what he always does, which always looks as though it’s not much. He says his lines, lifts his eyebrows or his hands, palms up. Now and again he throws a hissy fit or falls down. Mostly, he lets things happen around him while occupying the movie’s center, patiently waiting for something to happen to show that he’s less disaffected than he seems.\u003c/p>\n\u003cp>I’ll be darned if I know what it is that Murray does with all this doing nothing, but somehow he’s also been the guy to make you believe in a television newscaster who wakes up to the same lousy Groundhog Day every day until Andie MacDowell rides to the rescue. More preposterous yet, he makes you suspend all disbelief that, in \u003cem>Lost in Translation\u003c/em>, a woman who looks like Scarlett Johansson could possibly fall for a depressive has-been who looks like Bill Murray.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can put Murray in a drama or a comedy or almost anything that isn’t too loud or too busy, and he’ll drain the goo without also ditching the humanity. In this instance, he’s the perfect guy to carry the movie’s pleasantly ordinary tune, which sings that saints are nothing but flawed people doing good. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Murray+Doesn%27t+Do+Much%2C+But+He+Does+It+So+Well+In+%27St.+Vincent%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the start of \u003cem>The Blue Room\u003c/em>, with its shots of wrinkled sheets in a recently vacated hotel room, it’s evident that Mathieu Amalric’s film will focus not strictly on the illicit affair between Julien (Amalric) and Esther (Stéphanie Cléau) but on the aftereffects of unfaithfulness and center not on seduction but on the consequences of seducing and being seduced.\u003c/p>\n\u003cp>In such a scenario, the trope of the mad mistress casts a long shadow — think \u003cem>Fatal Attraction \u003c/em>— as does that of the jealous, vengeful partner, who isn’t hard to find either in today’s theaters. Lying in bed, Esther repeatedly asks Julien variations on the question: “Could you spend your whole life with me?” So when she later begins sending him cryptic letters about their future together, you wonder whether a dead rabbit isn’t too far in the future.\u003c/p>\n\u003cp>http://youtu.be/AXru7gOWV-I\u003c/p>\n\u003cp>Esther’s obsessive qualities are really only hinted at, though, as is the jealousy of Julien’s wife, Delphine (Léa Drucker), which we suspect, in retrospect, only because another character asks Julien about it. Both are expectations, assumptions that Amalric and Cléau, who together adapted the script from Georges Simenon’s novel, coyly dance around but never outright confirm or dismiss. Instead, they allow the audience to slowly realize just how much the events in \u003cem>The Blue Room\u003c/em> are filtered through Julien’s experience, and then to understand that his perspective might be crucially flawed.\u003c/p>\n\u003cp>Julien is presented emphatically as a small man — looking plain and diminutive standing next to the tall and elegant Esther. And with every turn in the plot, every new threat that his secret will be exposed, he shrinks more, his face an increasingly pitiful mix of helplessness and anguish. He’s not an unreliable narrator, but because his demeanor is so pathetic, so seemingly harmless, our focus shifts to the events around him and to the growing sense of some unfortunate event certain to befall him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amalric helps us be carried in that direction, of course, using Grégoire Hetzel’s score to evoke Hitchcockian thrillers and ratcheting up anticipation of a big reveal with a plot that is as much a legal thriller as it is the story of a torrid affair. \u003cem>The Blue Room\u003c/em>‘s narrative jumps across time, flitting from the initiation of Julien and Esther’s affair to its direct aftermath to Julien’s testimony months later about an unspecified crime of which he is being accused.\u003c/p>\n\u003cp>\u003cem>The Blue Room\u003c/em> pieces together the details of its plot like a jigsaw puzzle, but seeing the final picture is not its principal pleasure. Instead, if for the first half you’re awaiting answers about what transpired between Delphine, Esther and Julien, much of what keeps the film compelling in its second hour is how revelations of small details shift the meaning of previous words and actions: What seemed like thoughtless pillow talk turns into criminal intentions; what seemed like unremarkable marital tension turns into dark premonitions.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The cumulative effect, though, is intriguingly anti-climactic. \u003cem>The Blue Room\u003c/em> ends on a decisive note, but the film doesn’t seem convinced of its own firm conclusion. One of the most striking qualities of the film is how little we really ever find out about Julien, or about the whole plot that has unraveled before us. As the credits roll, you may not be surprised at where you’ve ended up, but trying to look back at how you got there may make the path suddenly seem foggy. Amalric and Cléau are more than competent guides through the confusion, largely because they don’t throw us into it immediately but guide us in using our own expectations, beginning a process of recalibration that’s engrossing if not strictly illuminating. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Blue+Room%2C%27+An+Uncertain+Path+Through+An+Affair&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the start of \u003cem>The Blue Room\u003c/em>, with its shots of wrinkled sheets in a recently vacated hotel room, it’s evident that Mathieu Amalric’s film will focus not strictly on the illicit affair between Julien (Amalric) and Esther (Stéphanie Cléau) but on the aftereffects of unfaithfulness and center not on seduction but on the consequences of seducing and being seduced.\u003c/p>\n\u003cp>In such a scenario, the trope of the mad mistress casts a long shadow — think \u003cem>Fatal Attraction \u003c/em>— as does that of the jealous, vengeful partner, who isn’t hard to find either in today’s theaters. Lying in bed, Esther repeatedly asks Julien variations on the question: “Could you spend your whole life with me?” So when she later begins sending him cryptic letters about their future together, you wonder whether a dead rabbit isn’t too far in the future.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AXru7gOWV-I'\n title='//www.youtube.com/embed/AXru7gOWV-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Esther’s obsessive qualities are really only hinted at, though, as is the jealousy of Julien’s wife, Delphine (Léa Drucker), which we suspect, in retrospect, only because another character asks Julien about it. Both are expectations, assumptions that Amalric and Cléau, who together adapted the script from Georges Simenon’s novel, coyly dance around but never outright confirm or dismiss. Instead, they allow the audience to slowly realize just how much the events in \u003cem>The Blue Room\u003c/em> are filtered through Julien’s experience, and then to understand that his perspective might be crucially flawed.\u003c/p>\n\u003cp>Julien is presented emphatically as a small man — looking plain and diminutive standing next to the tall and elegant Esther. And with every turn in the plot, every new threat that his secret will be exposed, he shrinks more, his face an increasingly pitiful mix of helplessness and anguish. He’s not an unreliable narrator, but because his demeanor is so pathetic, so seemingly harmless, our focus shifts to the events around him and to the growing sense of some unfortunate event certain to befall him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Whiplash\u003c/em> is, in many ways, a companion film to \u003cem>The Social Network\u003c/em>. The similarities only begin with the film’s protagonist Andrew (Miles Teller), a first-year jazz drummer at the highly competitive Schaffer music conservatory, who shares both the compulsive drive and the unpolished social skills of Jesse Eisenberg’s Mark Zuckerberg.\u003c/p>\n\u003cp>Unlike Zuckerberg, Andrew doesn’t start off as a jerk. \u003cem>Whiplash\u003c/em>‘s\u003cem> \u003c/em>writer-director, Damien Chazelle, lets him grow into one instead. Andrew is self-effacing to start, but he gains confidence when he comes under the tutelage of Schaffer’s dictatorial studio band conductor, Fletcher (J.K. Simmons). And when Andrew tells his girlfriend, Nicole (Melissa Benoist), that they have to break up because she will be a distraction to his work, a hindrance to his progress as a drummer, his blind self-righteousness recalls the casual insults Zuckerberg hurls at his girlfriend in \u003cem>The Social Network\u003c/em>‘s opening scene.\u003c/p>\n\u003cp>http://youtu.be/7EPC5m1QsSk\u003c/p>\n\u003cp>That Chazelle brings a quick-paced Sorkinian wit to his script only makes the comparison between the films stick more. Fletcher teaches largely by launching demoralizing insults at his students, most of which cannot be repeated here but are marked by their punchy concision as much as their inventive vulgarity.\u003c/p>\n\u003cp>Andrew, however, could hardly be described as tongue-tied. He responds to his relatives at a family dinner with the same disparaging counterattacks that Zuckerberg offers his opposition lawyers. When one football-loving cousin suggests that if Andrew thinks the sport is such a joke he should “come play with us,” Andrew instantly shoots back: “Four words you’ll never hear from the NFL.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Andrew may have only scorn toward his cousin, but, as with the regatta scene in \u003cem>Social Network\u003c/em>, the introduction of athletics helps underscore the debt \u003cem>Whiplash\u003c/em> owes to sports films from \u003cem>Hoosiers\u003c/em> to \u003cem>Remember the Titans\u003c/em>. These movies aren’t the only influence on \u003cem>Whiplash\u003c/em>, of course. Fletcher is as much a trash-talking drill sergeant as he is a hard-nosed coach, and Andrew’s move from class underdog to first-chair drummer shares elements with music biopics. But the combination of those two elements mixed with Chazelle’s attention to the blood, sweat and tears of Andrew’s drumming gives the film a physical energy that we associate more with locker rooms than music studios.\u003c/p>\n\u003cp>Andrew’s work under Fletcher is defined by the demand to play ever faster. This is not a vision of jazz that embraces a laid-back Dave Brubeck sound; its need for speed is fiercer even than that of bebop, the style that Fletcher obviously worships. This is no-pain-no-gain jazz. Jazz turned into a jock’s game.\u003c/p>\n\u003cp>In one scene, Fletcher has Andrew and two other drummers compete for the chance to play at an upcoming performance by seeing which of them can first hit and hold an exact, rapid-fire tempo. He keeps them in the studio for hours, sweating through attempt after attempt.\u003c/p>\n\u003cp>The scene exemplifies Chazelle’s strategy of giving his subject matter a steroid injection — pushing it as close as possible to a bench press competition — in order to bring excitement to an activity that’s not naturally heart-pounding. David Fincher used the same tactic in the \u003cem>Social Network\u003c/em>‘s intern tryout scene.\u003c/p>\n\u003cp>More than \u003cem>Social Network\u003c/em>, though,\u003cem> Whiplash\u003c/em> attempts to maintain that high-level intensity to the end, a strategy that’s engrossing but forces the script to repeatedly up the ante and pushes it in some improbable directions.\u003c/p>\n\u003cp>Ultimately, what keeps \u003cem>Whiplash\u003c/em> from becoming a joyride whose effects last only as long as its adrenaline rush are Simmons’ and Teller’s performances and Chazelle’s insight into Andrew’s personality. What Chazelle stresses about Andrew is his obsessiveness. And what he really nails about obsession, about those people who work tirelessly at a specific goal, is that their struggle is not about achieving success rather than failure. It’s about demonstrating genius rather than mere talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the first shot of \u003cem>Whiplash\u003c/em>,\u003cem> \u003c/em>you know that Andrew has chops in his chosen field, just as you do with Sorkin’s Zuckerberg in his first scene. For both these characters, as in the most rags-to-riches sports tale, a few victories never suffice. What makes Andrew transplantable from a recording studio to a sports arena, and what makes \u003cem>Whiplash\u003c/em> so compelling to watch, is this push toward greatness, the inherent thrill of which, Chazelle realizes, has little do with the activity that inspires it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bang+The+Drum+Ever+Faster+In+The+Different+Sports+Arena+Of+%27Whiplash%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Whiplash\u003c/em> is, in many ways, a companion film to \u003cem>The Social Network\u003c/em>. The similarities only begin with the film’s protagonist Andrew (Miles Teller), a first-year jazz drummer at the highly competitive Schaffer music conservatory, who shares both the compulsive drive and the unpolished social skills of Jesse Eisenberg’s Mark Zuckerberg.\u003c/p>\n\u003cp>Unlike Zuckerberg, Andrew doesn’t start off as a jerk. \u003cem>Whiplash\u003c/em>‘s\u003cem> \u003c/em>writer-director, Damien Chazelle, lets him grow into one instead. Andrew is self-effacing to start, but he gains confidence when he comes under the tutelage of Schaffer’s dictatorial studio band conductor, Fletcher (J.K. Simmons). And when Andrew tells his girlfriend, Nicole (Melissa Benoist), that they have to break up because she will be a distraction to his work, a hindrance to his progress as a drummer, his blind self-righteousness recalls the casual insults Zuckerberg hurls at his girlfriend in \u003cem>The Social Network\u003c/em>‘s opening scene.\u003c/p>\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/7EPC5m1QsSk'\n title='//www.youtube.com/embed/7EPC5m1QsSk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That Chazelle brings a quick-paced Sorkinian wit to his script only makes the comparison between the films stick more. Fletcher teaches largely by launching demoralizing insults at his students, most of which cannot be repeated here but are marked by their punchy concision as much as their inventive vulgarity.\u003c/p>\n\u003cp>Andrew, however, could hardly be described as tongue-tied. He responds to his relatives at a family dinner with the same disparaging counterattacks that Zuckerberg offers his opposition lawyers. When one football-loving cousin suggests that if Andrew thinks the sport is such a joke he should “come play with us,” Andrew instantly shoots back: “Four words you’ll never hear from the NFL.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Andrew may have only scorn toward his cousin, but, as with the regatta scene in \u003cem>Social Network\u003c/em>, the introduction of athletics helps underscore the debt \u003cem>Whiplash\u003c/em> owes to sports films from \u003cem>Hoosiers\u003c/em> to \u003cem>Remember the Titans\u003c/em>. These movies aren’t the only influence on \u003cem>Whiplash\u003c/em>, of course. Fletcher is as much a trash-talking drill sergeant as he is a hard-nosed coach, and Andrew’s move from class underdog to first-chair drummer shares elements with music biopics. But the combination of those two elements mixed with Chazelle’s attention to the blood, sweat and tears of Andrew’s drumming gives the film a physical energy that we associate more with locker rooms than music studios.\u003c/p>\n\u003cp>Andrew’s work under Fletcher is defined by the demand to play ever faster. This is not a vision of jazz that embraces a laid-back Dave Brubeck sound; its need for speed is fiercer even than that of bebop, the style that Fletcher obviously worships. This is no-pain-no-gain jazz. Jazz turned into a jock’s game.\u003c/p>\n\u003cp>In one scene, Fletcher has Andrew and two other drummers compete for the chance to play at an upcoming performance by seeing which of them can first hit and hold an exact, rapid-fire tempo. He keeps them in the studio for hours, sweating through attempt after attempt.\u003c/p>\n\u003cp>The scene exemplifies Chazelle’s strategy of giving his subject matter a steroid injection — pushing it as close as possible to a bench press competition — in order to bring excitement to an activity that’s not naturally heart-pounding. David Fincher used the same tactic in the \u003cem>Social Network\u003c/em>‘s intern tryout scene.\u003c/p>\n\u003cp>More than \u003cem>Social Network\u003c/em>, though,\u003cem> Whiplash\u003c/em> attempts to maintain that high-level intensity to the end, a strategy that’s engrossing but forces the script to repeatedly up the ante and pushes it in some improbable directions.\u003c/p>\n\u003cp>Ultimately, what keeps \u003cem>Whiplash\u003c/em> from becoming a joyride whose effects last only as long as its adrenaline rush are Simmons’ and Teller’s performances and Chazelle’s insight into Andrew’s personality. What Chazelle stresses about Andrew is his obsessiveness. And what he really nails about obsession, about those people who work tirelessly at a specific goal, is that their struggle is not about achieving success rather than failure. It’s about demonstrating genius rather than mere talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the first shot of \u003cem>Whiplash\u003c/em>,\u003cem> \u003c/em>you know that Andrew has chops in his chosen field, just as you do with Sorkin’s Zuckerberg in his first scene. For both these characters, as in the most rags-to-riches sports tale, a few victories never suffice. What makes Andrew transplantable from a recording studio to a sports arena, and what makes \u003cem>Whiplash\u003c/em> so compelling to watch, is this push toward greatness, the inherent thrill of which, Chazelle realizes, has little do with the activity that inspires it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bang+The+Drum+Ever+Faster+In+The+Different+Sports+Arena+Of+%27Whiplash%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Adapted from a Patricia Highsmith novel, \u003cem>The Two Faces of January\u003c/em> is, like Highsmith’s \u003cem>The Talented Mr. Ripley\u003c/em>, a tale of deceptive identities. When we meet Chester (Viggo Mortensen) and Colette (Kirsten Dunst) in 1960s Greece, they seem like a rich, elegant American couple casually touring Europe. It’s not long, though, before Chester’s previous life catches up with him. A private detective comes to his hotel room demanding payment on behalf of a group who were swindled by Chester when he lived in the U.S. After a brief tussle, the detective ends up dead on the bathroom floor.\u003c/p>\n\u003cp>By the time that happens, though, Chester and Colette have befriended Rydal (Oscar Isaac), whose back story, while less evidently misleading, is also mysterious. He’s introduced as a more obvious cheat than Chester, running small scams on tourists while working as a tour guide. His demeanor, more than Chester’s, suggests that he may not be what he claims to be. And ultimately, while Rydal, too, may be on the run from his past, his past may not be so sinister.\u003c/p>\n\u003cp>http://youtu.be/TrRHmhIDfjg\u003c/p>\n\u003cp>Rydal and Chester are flip sides of the reinvention narrative, embodied quite magnificently by Isaac and Mortensen. Isaac, still doughy-eyed but much less frazzled than in \u003cem>Inside Llewyn Davis\u003c/em>, captures a self-assured center beneath Rydal’s somewhat fidgety outer appearance. Chester, on the other hand, is pristinely put together but barely controlled just below the surface. Rydal, it seems, will find peace eventually, but Chester’s torment only grows more frightening and dangerous.\u003c/p>\n\u003cp>The face-off between these two polarized characters — and two fine actors — offers up a fine flirtatious dance but never quite the promised payoff, although the two do share a few splendid interactions. One scene where the normally haughty Chester apologizes for a drunken episode and is brushed off by Rydal typifies these moments — they’re made up of small gestures and looks that raise the tension in the men’s power struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, writer-director Hossein Amini’s heavy-handed approach to interpreting the material bogs down the relationship. Chester and Rydal are clearly acting out something like a father-son dynamic, but Amini’s insistence on having them say as much reduces their rapport to simplistic therapy. Similarly, a series of dramatic shots as Chester’s behavior turns menacing are maddening for their excess: that Chester has inner demons is evident enough without lighting him as if he were the Phantom of the Opera.\u003c/p>\n\u003cp>Most of all, \u003cem>The Two Faces of January\u003c/em> feels shot too tight and cut too tight; it doesn’t push forward at a bewilderingly fast pace, but its story and its performances still feel like they need more room to breathe. The film’s plot, after all, is fairly uneventful after the death of the private detective, punctuated by stops at a series of towns in Crete while Chester and Colette wait to receive the fake passports that Rydal arranged for so they can leave the country.\u003c/p>\n\u003cp>In such an open scenario, what’s most interesting is how the trio’s perceptions and feelings shift, yet Amini refuses to let scenes run on any longer than needed to get the story movement across; thus, rich subtext is left frustratingly unexplored.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mortensen and Isaac are hindered by Amini’s method, but ultimately it’s Dunst who feels its effects most. The script sidelines her character as a plaything in Chester and Rydal’s competition. And the camera, when it finds her, does so seemingly for the sole purpose of tracking a fixed emotional trajectory — she is intrigued by Rydal, then gloomy, then despondent. Dunst complies adequately enough with the limited requirements of the role, and that’s ultimately how much of the film comes off: as a perfectly adequate take on a story that contains much more to be plumbed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Two+Faces%27+Of+Reinvention+And+Deceptive+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adapted from a Patricia Highsmith novel, \u003cem>The Two Faces of January\u003c/em> is, like Highsmith’s \u003cem>The Talented Mr. Ripley\u003c/em>, a tale of deceptive identities. When we meet Chester (Viggo Mortensen) and Colette (Kirsten Dunst) in 1960s Greece, they seem like a rich, elegant American couple casually touring Europe. It’s not long, though, before Chester’s previous life catches up with him. A private detective comes to his hotel room demanding payment on behalf of a group who were swindled by Chester when he lived in the U.S. After a brief tussle, the detective ends up dead on the bathroom floor.\u003c/p>\n\u003cp>By the time that happens, though, Chester and Colette have befriended Rydal (Oscar Isaac), whose back story, while less evidently misleading, is also mysterious. He’s introduced as a more obvious cheat than Chester, running small scams on tourists while working as a tour guide. His demeanor, more than Chester’s, suggests that he may not be what he claims to be. And ultimately, while Rydal, too, may be on the run from his past, his past may not be so sinister.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TrRHmhIDfjg'\n title='//www.youtube.com/embed/TrRHmhIDfjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rydal and Chester are flip sides of the reinvention narrative, embodied quite magnificently by Isaac and Mortensen. Isaac, still doughy-eyed but much less frazzled than in \u003cem>Inside Llewyn Davis\u003c/em>, captures a self-assured center beneath Rydal’s somewhat fidgety outer appearance. Chester, on the other hand, is pristinely put together but barely controlled just below the surface. Rydal, it seems, will find peace eventually, but Chester’s torment only grows more frightening and dangerous.\u003c/p>\n\u003cp>The face-off between these two polarized characters — and two fine actors — offers up a fine flirtatious dance but never quite the promised payoff, although the two do share a few splendid interactions. One scene where the normally haughty Chester apologizes for a drunken episode and is brushed off by Rydal typifies these moments — they’re made up of small gestures and looks that raise the tension in the men’s power struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At the opening of \u003cem>Gone Girl\u003c/em>, Nick Dunne (Ben Affleck) is literally a man on the street. Standing by his trash cans in the half-light of an early morning at his gorgeous Missouri home in a T-shirt and sweatpants, he is what might be mistaken for “comfortable,” but he is painfully, powerfully ordinary. And in keeping with the title, he is about to learn that his wife, Amy (Rosamund Pike), is missing. Suspicious to both the authorities and the audience, Nick has lost his wife to either an act of violence he committed or an act of violence he did not commit. He is no longer ordinary; he is either a monster or a misunderstood victim of circumstance.\u003c/p>\n\u003cp>The story proceeds as a pair of alternating narratives: We follow Nick in the present as he describes to the investigating officers a challenging but basically good marriage, while Amy recounts in her diary, in parallel, a blissful courtship followed by increasingly dark flashes of trouble. We watch Nick tell the police and his sister things we know from peeking at Amy’s diary are not true. It begins to dawn, in fits and starts, that the Nick we saw standing in the street was not the entire Nick.\u003c/p>\n\u003cp>http://youtu.be/Ym3LB0lOJ0o\u003c/p>\n\u003cp>It seemed almost impossible that director David Fincher and original novelist Gillian Flynn, who wrote the adapted screenplay herself, could hang on to the 2012 book’s uncommon and disorienting structure, but they do. Seeing the film feels much like reading the book: They achieve the same gasps, the same moments of sudden and giddy understanding. They solve the problem inherent in every mystery: that it will be solved, but it cannot be until the final page, because once it is, the tension will slacken irreparably absent a series of false endings. In the film, as in the book, the opposite happens. Information is gained, sometimes in sudden gulps, but when it is, there is no deflation — only an exhilarating newness.\u003c/p>\n\u003cp>The story calls for such unrelenting work with mood, though, that there are times when it feels in danger of stalling to gaze at its own blue-gray color palette. Fincher loves his Trent Reznor/Atticus Ross scores, too, and while the dreamlike, woozy music in the first part of the film has just the right unnerving constancy, it seems at times to admit too little silence.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the production is slightly too atmospheric, the performances are bracingly specific, led by Affleck, whose task is complex. What drives any effective portrayal of Nick is that you must be able to believe that he could be a malevolent sort of pent-up guy, or he could be a middle-of-the-road lousy-husband guy, or he could be a truly put-upon and largely blameless guy. You must, no matter how hard you peer at him, find it hard to tell. You must be unable to choose an answer even after you know the answer. He has to have an almost existentially untrustworthy quality, so much so that you don’t even trust any instinct you may have that he’s not to be trusted. He has to be, to Amy, both charismatic and disappointing, and he has to be, to us, maybe innocent and maybe guilty but naggingly unseemly either way. It is the greasy sheen on Nick’s personality, combined with something sympathetic in his insistence that he’s innocent, that makes the movie run.\u003c/p>\n\u003cp>And that is where Ben Affleck’s sweet spot is. Like Hugh Grant, he flounders dully when people try to get him to play anybody too unambiguously nice; he leans on his grin and his ingratiating shrug, and he gives off a generous whiff of distasteful entitlement. But allowed a bit of early-middle-age moping and resentment that’s built into the character, allowed to \u003cem>play \u003c/em>a more questionable person, he’s more human. His work here is taut and controlled, and he beautifully translates details from the book like Nick’s tendency to smile at cameras even while surrounded by the theater of tragedy — a tendency that’s either an unfortunate disadvantage that makes him seem guilty or a crucial tell that he is guilty. (Seeing this kind of detail on screen — the kind that’s tough to understand until you see a living person do it — goes a long way to justify the film adaptation’s existence.)\u003c/p>\n\u003cp>Rosamund Pike’s performance is much harder to talk about, because she’s the co-lead of the film despite the fact that Amy is gone. It is Amy who must come into focus gradually, and it is Amy whose disappearance must eventually be solved, and whose story will have to be closed from there. It is adequate to say that playing Amy in the dual narratives that she and Nick offer is an enormous challenge. It’s not quite the pop-culture staple of \u003cem>Rashomon\u003c/em>, but reconciling Amy from Nick’s telling and Amy from the diary — and the two Nicks with whom those Amys live — becomes key to understanding what happened to Amy and whether she will or will not ever be found.\u003c/p>\n\u003cp>I think it is not spoiling too much to say that there are really two movies curled around each other in \u003cem>Gone Girl\u003c/em>: one part built on the tropes of mystery and one part drawn from the traditions of suspense and horror. There is more subtlety in the first, more focus on the fine points of how marriages bend lovingly and warp dangerously. The second story is more an unsheathed weapon, wielded extravagantly, in which whatever is \u003cem>wrong\u003c/em>, whatever made Amy be \u003cem>gone\u003c/em>, must be confronted, whether it’s internal or external to her husband. Fincher’s handling of both is appropriately creepy and nicely paced — the movie is 2 1/2 hours long and never drags.\u003c/p>\n\u003cp>While this is largely a two-person dance (of people spending much of their time apart), supporting performers, including the fabulous Carrie Coon as Nick’s fretting twin sister and a surprisingly relaxed turn from Tyler Perry as Nick’s attorney, put in good work. Neil Patrick Harris as a former boyfriend of Amy’s makes for an offbeat piece of casting given the other roles he’s played, and while it’s an almost impenetrable performance, it seems intentionally so.\u003c/p>\n\u003cp>But ultimately, \u003cem>Gone Girl \u003c/em>runs on the diabolical, inventive, sometimes unhinged genius of its story. It is constantly pressing on the edges of tropes until they show weakness — the tough detective, the dirty lawyer, the sweet wife and worried husband — and then cramming sticks of dynamite into the cracks and lighting them for kicks. Fincher being Fincher, it’s a fine-looking, carefully crafted, meticulous piece of filmmaking full of shots that beg to be admired until they are almost but not quite ostentatious, including the very first one of the film, in which the back of Amy’s head is obliquely referenced as a thing to be cradled, struck and ultimately dismantled — the better to understand it, of course.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It is fine filmmaking. It is fine acting. But this is, in the end, a story-driven movie, and what makes it work is that Flynn and Fincher together have told the ever-loving heck out of this scary, weird tale, with respect for the pitch-black (really, really pitch-black) humor that occasionally oozes from its pores. They are acting here as social commentators on the topics of gender and marriage and media (it’s just hard to explore that without giving too much away), but they’re also acting as campfire legend-spinners. \u003cem>This one time, there was this man, and he called the police and said that his wife was missing.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Gone+Girl%27%3A+A+Missing+Wife+And+A+Cloud+Of+Suspicion&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the production is slightly too atmospheric, the performances are bracingly specific, led by Affleck, whose task is complex. What drives any effective portrayal of Nick is that you must be able to believe that he could be a malevolent sort of pent-up guy, or he could be a middle-of-the-road lousy-husband guy, or he could be a truly put-upon and largely blameless guy. You must, no matter how hard you peer at him, find it hard to tell. You must be unable to choose an answer even after you know the answer. He has to have an almost existentially untrustworthy quality, so much so that you don’t even trust any instinct you may have that he’s not to be trusted. He has to be, to Amy, both charismatic and disappointing, and he has to be, to us, maybe innocent and maybe guilty but naggingly unseemly either way. It is the greasy sheen on Nick’s personality, combined with something sympathetic in his insistence that he’s innocent, that makes the movie run.\u003c/p>\n\u003cp>And that is where Ben Affleck’s sweet spot is. Like Hugh Grant, he flounders dully when people try to get him to play anybody too unambiguously nice; he leans on his grin and his ingratiating shrug, and he gives off a generous whiff of distasteful entitlement. But allowed a bit of early-middle-age moping and resentment that’s built into the character, allowed to \u003cem>play \u003c/em>a more questionable person, he’s more human. His work here is taut and controlled, and he beautifully translates details from the book like Nick’s tendency to smile at cameras even while surrounded by the theater of tragedy — a tendency that’s either an unfortunate disadvantage that makes him seem guilty or a crucial tell that he is guilty. (Seeing this kind of detail on screen — the kind that’s tough to understand until you see a living person do it — goes a long way to justify the film adaptation’s existence.)\u003c/p>\n\u003cp>Rosamund Pike’s performance is much harder to talk about, because she’s the co-lead of the film despite the fact that Amy is gone. It is Amy who must come into focus gradually, and it is Amy whose disappearance must eventually be solved, and whose story will have to be closed from there. It is adequate to say that playing Amy in the dual narratives that she and Nick offer is an enormous challenge. It’s not quite the pop-culture staple of \u003cem>Rashomon\u003c/em>, but reconciling Amy from Nick’s telling and Amy from the diary — and the two Nicks with whom those Amys live — becomes key to understanding what happened to Amy and whether she will or will not ever be found.\u003c/p>\n\u003cp>I think it is not spoiling too much to say that there are really two movies curled around each other in \u003cem>Gone Girl\u003c/em>: one part built on the tropes of mystery and one part drawn from the traditions of suspense and horror. There is more subtlety in the first, more focus on the fine points of how marriages bend lovingly and warp dangerously. The second story is more an unsheathed weapon, wielded extravagantly, in which whatever is \u003cem>wrong\u003c/em>, whatever made Amy be \u003cem>gone\u003c/em>, must be confronted, whether it’s internal or external to her husband. Fincher’s handling of both is appropriately creepy and nicely paced — the movie is 2 1/2 hours long and never drags.\u003c/p>\n\u003cp>While this is largely a two-person dance (of people spending much of their time apart), supporting performers, including the fabulous Carrie Coon as Nick’s fretting twin sister and a surprisingly relaxed turn from Tyler Perry as Nick’s attorney, put in good work. Neil Patrick Harris as a former boyfriend of Amy’s makes for an offbeat piece of casting given the other roles he’s played, and while it’s an almost impenetrable performance, it seems intentionally so.\u003c/p>\n\u003cp>But ultimately, \u003cem>Gone Girl \u003c/em>runs on the diabolical, inventive, sometimes unhinged genius of its story. It is constantly pressing on the edges of tropes until they show weakness — the tough detective, the dirty lawyer, the sweet wife and worried husband — and then cramming sticks of dynamite into the cracks and lighting them for kicks. Fincher being Fincher, it’s a fine-looking, carefully crafted, meticulous piece of filmmaking full of shots that beg to be admired until they are almost but not quite ostentatious, including the very first one of the film, in which the back of Amy’s head is obliquely referenced as a thing to be cradled, struck and ultimately dismantled — the better to understand it, of course.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The world is ending, billions will die, and hell is, literally, coming to Long Island. But the rebooted \u003cem>Left Behind\u003c/em> doesn’t want to alarm you.\u003c/p>\n\u003cp>Fourteen years ago, as a new millennium’s arrival failed to extinguish our doggedly persistent universe, the first \u003cem>Left Behind\u003c/em> movie introduced a slithery Antichrist — a U.N. official, of course — and the prospect of global war centered on Jerusalem. Just last month, \u003cem>The Remaining\u003c/em> treated the fundamentalist-Christian notion of “the rapture” as a horror movie, littered with the corpses of born-againers whose souls had been called to heaven.\u003c/p>\n\u003cp>The second attempt to create a successful movie franchise from the 16 best-selling \u003cem>Left Behind\u003c/em> novels takes a gentler approach. The departed abandon only their clothing, not their carcasses. And no demons are glimpsed in a tale that focuses tightly on the family of airline pilot Ray Steele (Nicolas Cage). As Ray tries to land a disabled jetliner whose co-pilot is now chilling with the man upstairs, his challenges derive less from the Bible (1 Thessalonians 4:17, in particular) than from such moldy disaster flicks as 1969’s \u003cem>Airport\u003c/em>.\u003c/p>\n\u003cp>http://youtu.be/GrXe8YDbzYs\u003c/p>\n\u003cp>For those who missed this particular end of the world the last time it didn’t happen, \u003cem>Left Behind\u003c/em> is based on a series of sectarian thrillers by Tim LaHaye and Jerry B. Jenkins. Adapting the books to the screen began in 2000, but the movies didn’t click even as straight-to-church-auditorium fare, and stopped at three. The producers of the latest round of adaptations have also promised three, not a full 13.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The revamped but still clunky saga begins as Ray prepares to fly from JFK to London by removing his wedding ring. He’s estranged from his wife (Lea Thompson) since she became a rapture-ready Christian, and is hoping to spend some time with a sexy flight attendant once they land. This carnal design has so warped his judgment that he has decided to skip a family reunion with daughter Chloe (Cassie Thomson), who has returned from college just to see him.\u003c/p>\n\u003cp>Chloe visits her dad briefly at the airport, and while there meets famed daredevil journalist Buck Williams (Chad Michael Murray), who will also be on that flight to London. Then she takes her little brother to the mall, where break dancers bust some moves that are as fluid as the dialogue is stiff. This protracted setup moves about as briskly as the first three hours of \u003cem>Boyhood\u003c/em>.\u003c/p>\n\u003cp>Finally, the righteous vanish and the rest are left to ponder their disappearance. Chloe searches for her sibling and mom, both of whom are no longer in this world; her dad flies the damaged plane while piecing together the religious significance of what just happened.\u003c/p>\n\u003cp>In first class, Williams deals with unruly fellow travelers selected for their comic-relief value. Among the passengers is a pistol-packing sports-star spouse played by \u003cem>American Idol\u003c/em> champ Jordin Sparks, who sings the end-credits ditty, “I Wish We’d All Been Ready.” Viewers will wish that director Vic Armstrong and scripters Paul Lalonde and John Patus had been ready, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie climaxes with Ray’s attempt to land the plane, an utterly nontheological struggle. This section of the movie is adequately staged, if not exactly surprising. Its emphasis on real-world rather than supernatural threats is shrewd, but sooner or later the new \u003cem>Left Behind\u003c/em> series will have to focus on its source’s real agenda. At that point, the potential audience will evaporate faster than Chloe’s kid brother. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man%2C+A+Plane%2C+A+Rapture%3A+%27Left+Behind%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world is ending, billions will die, and hell is, literally, coming to Long Island. But the rebooted \u003cem>Left Behind\u003c/em> doesn’t want to alarm you.\u003c/p>\n\u003cp>Fourteen years ago, as a new millennium’s arrival failed to extinguish our doggedly persistent universe, the first \u003cem>Left Behind\u003c/em> movie introduced a slithery Antichrist — a U.N. official, of course — and the prospect of global war centered on Jerusalem. Just last month, \u003cem>The Remaining\u003c/em> treated the fundamentalist-Christian notion of “the rapture” as a horror movie, littered with the corpses of born-againers whose souls had been called to heaven.\u003c/p>\n\u003cp>The second attempt to create a successful movie franchise from the 16 best-selling \u003cem>Left Behind\u003c/em> novels takes a gentler approach. The departed abandon only their clothing, not their carcasses. And no demons are glimpsed in a tale that focuses tightly on the family of airline pilot Ray Steele (Nicolas Cage). As Ray tries to land a disabled jetliner whose co-pilot is now chilling with the man upstairs, his challenges derive less from the Bible (1 Thessalonians 4:17, in particular) than from such moldy disaster flicks as 1969’s \u003cem>Airport\u003c/em>.\u003c/p>\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/GrXe8YDbzYs'\n title='//www.youtube.com/embed/GrXe8YDbzYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who missed this particular end of the world the last time it didn’t happen, \u003cem>Left Behind\u003c/em> is based on a series of sectarian thrillers by Tim LaHaye and Jerry B. Jenkins. Adapting the books to the screen began in 2000, but the movies didn’t click even as straight-to-church-auditorium fare, and stopped at three. The producers of the latest round of adaptations have also promised three, not a full 13.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The revamped but still clunky saga begins as Ray prepares to fly from JFK to London by removing his wedding ring. He’s estranged from his wife (Lea Thompson) since she became a rapture-ready Christian, and is hoping to spend some time with a sexy flight attendant once they land. This carnal design has so warped his judgment that he has decided to skip a family reunion with daughter Chloe (Cassie Thomson), who has returned from college just to see him.\u003c/p>\n\u003cp>Chloe visits her dad briefly at the airport, and while there meets famed daredevil journalist Buck Williams (Chad Michael Murray), who will also be on that flight to London. Then she takes her little brother to the mall, where break dancers bust some moves that are as fluid as the dialogue is stiff. This protracted setup moves about as briskly as the first three hours of \u003cem>Boyhood\u003c/em>.\u003c/p>\n\u003cp>Finally, the righteous vanish and the rest are left to ponder their disappearance. Chloe searches for her sibling and mom, both of whom are no longer in this world; her dad flies the damaged plane while piecing together the religious significance of what just happened.\u003c/p>\n\u003cp>In first class, Williams deals with unruly fellow travelers selected for their comic-relief value. Among the passengers is a pistol-packing sports-star spouse played by \u003cem>American Idol\u003c/em> champ Jordin Sparks, who sings the end-credits ditty, “I Wish We’d All Been Ready.” Viewers will wish that director Vic Armstrong and scripters Paul Lalonde and John Patus had been ready, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie climaxes with Ray’s attempt to land the plane, an utterly nontheological struggle. This section of the movie is adequately staged, if not exactly surprising. Its emphasis on real-world rather than supernatural threats is shrewd, but sooner or later the new \u003cem>Left Behind\u003c/em> series will have to focus on its source’s real agenda. At that point, the potential audience will evaporate faster than Chloe’s kid brother. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man%2C+A+Plane%2C+A+Rapture%3A+%27Left+Behind%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Latin American Icon Simon Bolivar Gets Biopic Treatment In 'Liberator'",
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"content": "\u003cp>The new film \u003cem>The Liberator\u003c/em> is an attempt to bring the epic story of Simon Bolivar, the George Washington of Latin America, to international audiences. Directed by Venezuelan filmmaker Alberto Arvelo, it’s one of the most expensive Latin American productions to date and features epic battle scenes, rousing speeches and stunning landscapes in the spirit of historical epics like \u003cem>Braveheart\u003c/em>.\u003c/p>\n\u003cp>Bolivar liberated six Latin American countries from Spanish rule in the early 19th century and dreamed of forming a unified Latin America. Although he died almost 200 years ago, Arvelo says his legacy lives on in the politics and artistic life of the continent today: “It’s this energy that people felt that’s still alive. … For me and for all the people behind the film, we didn’t understand at the beginning why we don’t have a film about Simon Bolivar. I mean, that’s incredible.”\u003c/p>\n\u003cp>http://youtu.be/Ws0xmkOYYVk\u003c/p>\n\u003cp>\u003cem>The Liberator\u003c/em> was independently financed by Spanish and Venezuelan producers and its wide release speaks to an attempt by the filmmakers to make a global, Spanish-language epic. It stars Edgar Ramirez (an emerging star of both independent and Hollywood cinema), features an international cast and has an original score written by renowned Venezuelan conductor Gustavo Dudamel.\u003c/p>\n\u003cp>Edgar Ramirez says the film’s international style reflects Latin America itself: “It’s a film from Latin America that has influences from a lot of different ways of making movies, and that’s fundamentally what Latin America is all about: having different influences from all over the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the U.S., the film will be shown in art-house cinemas in cities like New York and Los Angeles, as well as in Spanish-speaking communities in California and Texas. According to\u003cstrong> \u003c/strong>film distributor Daniel Battsek, \u003cem>The Liberator\u003c/em> addresses the absence of quality Latin American stories in a country with a growing Hispanic community.\u003c/p>\n\u003cp>“I don’t know that much about South America and I think that film is a great medium for both entertaining but also giving information,” he says. “And I think \u003cem>The Liberator\u003c/em> does a very good job of sort of being entertaining and giving you an interesting piece of history that is inspiring.”\u003c/p>\n\u003cp>But \u003ca href=\"http://www.npr.org/2013/04/13/176783269/enshrined-and-oft-invoked-simon-bolivar-lives-on\">Bolivar biographer Marie Arana\u003c/a> says while the film is certainly beautiful, “there’s the matter of history — the small matter of history!” Arana was invited to introduce the film at the American Film Institute and as she watched the finished version, she was disappointed by what she found to be a shallow reading of Bolivar’s life and legacy. For one, she says lead actor Edgar Ramirez looks nothing like Simon Bolivar.\u003c/p>\n\u003cp>“He was a physically slight man: He was 5’6″, barely 130 pounds; he had a very meager chest, he had spindly legs, he had hands that were small and delicate like a woman’s almost,” she says. “And the figure that we see on the screen, Edgar Ramirez, is big, handsome, chunky, hunky.”\u003c/p>\n\u003cp>Arana says it’s especially important to get Bolivar’s story right because of all the ways in which it’s been wronged.\u003c/p>\n\u003cp>“In the past 200 years since Bolivar died, his legacy has been manipulated in so many ways. I mean, two Venezuelan presidents exhumed his bones and reburied him and tried to cloak themselves in his glory. … You know, Francisco Franco, who was the right-wing dictator of Spain, and Augusto Pinochet, who was the right-wing dictator of Chile, took him as their hero, and so did the revolutionaries, like Fidel Castro and Che Guevera. So this is a life that has been used for many purposes.”\u003c/p>\n\u003cp>One of the ideas the film gets right, Arana says, is the multiracial face of Bolivar’s revolution. On screen, as in real life, Bolivar sees a colonial system steeped in inequality, racial hierarchy and slavery, and fights to dismantle those divisions. For Edgar Ramirez, that legacy of Bolivar’s liberation still matters because “one of the greatest debates in Latin America will always be the social gap between rich people and poor people and that is something we inherited from colonial times. … There were so many privileges within the colonial system given by social position and racial background. That, I think, has affected how our societies developed and Bolivar was very aware of that.”\u003c/p>\n\u003cp>And because of Bolivar’s impassioned campaign for abolition, Ramirez says, his story in South America is connected to the North American story. “Abolition had started, the process had started, already in South America three or four decades before Lincoln’s time,” he says. “But those three generations — Washington, Bolivar and Lincoln — they are probably the greatest generations that this entire continent has ever given. And the values of Enlightenment were completely carried out about by these generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the film’s imperfections, biographer Marie Arana says she hopes that audiences will see it as an entry point to understand the man and the landscape that made modern Latin America. \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=Latin+American+Icon+Simon+Bolivar+Gets+Biopic+Treatment+In+%27Liberator%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new film \u003cem>The Liberator\u003c/em> is an attempt to bring the epic story of Simon Bolivar, the George Washington of Latin America, to international audiences. Directed by Venezuelan filmmaker Alberto Arvelo, it’s one of the most expensive Latin American productions to date and features epic battle scenes, rousing speeches and stunning landscapes in the spirit of historical epics like \u003cem>Braveheart\u003c/em>.\u003c/p>\n\u003cp>Bolivar liberated six Latin American countries from Spanish rule in the early 19th century and dreamed of forming a unified Latin America. Although he died almost 200 years ago, Arvelo says his legacy lives on in the politics and artistic life of the continent today: “It’s this energy that people felt that’s still alive. … For me and for all the people behind the film, we didn’t understand at the beginning why we don’t have a film about Simon Bolivar. I mean, that’s incredible.”\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/Ws0xmkOYYVk'\n title='//www.youtube.com/embed/Ws0xmkOYYVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Liberator\u003c/em> was independently financed by Spanish and Venezuelan producers and its wide release speaks to an attempt by the filmmakers to make a global, Spanish-language epic. It stars Edgar Ramirez (an emerging star of both independent and Hollywood cinema), features an international cast and has an original score written by renowned Venezuelan conductor Gustavo Dudamel.\u003c/p>\n\u003cp>Edgar Ramirez says the film’s international style reflects Latin America itself: “It’s a film from Latin America that has influences from a lot of different ways of making movies, and that’s fundamentally what Latin America is all about: having different influences from all over the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the U.S., the film will be shown in art-house cinemas in cities like New York and Los Angeles, as well as in Spanish-speaking communities in California and Texas. According to\u003cstrong> \u003c/strong>film distributor Daniel Battsek, \u003cem>The Liberator\u003c/em> addresses the absence of quality Latin American stories in a country with a growing Hispanic community.\u003c/p>\n\u003cp>“I don’t know that much about South America and I think that film is a great medium for both entertaining but also giving information,” he says. “And I think \u003cem>The Liberator\u003c/em> does a very good job of sort of being entertaining and giving you an interesting piece of history that is inspiring.”\u003c/p>\n\u003cp>But \u003ca href=\"http://www.npr.org/2013/04/13/176783269/enshrined-and-oft-invoked-simon-bolivar-lives-on\">Bolivar biographer Marie Arana\u003c/a> says while the film is certainly beautiful, “there’s the matter of history — the small matter of history!” Arana was invited to introduce the film at the American Film Institute and as she watched the finished version, she was disappointed by what she found to be a shallow reading of Bolivar’s life and legacy. For one, she says lead actor Edgar Ramirez looks nothing like Simon Bolivar.\u003c/p>\n\u003cp>“He was a physically slight man: He was 5’6″, barely 130 pounds; he had a very meager chest, he had spindly legs, he had hands that were small and delicate like a woman’s almost,” she says. “And the figure that we see on the screen, Edgar Ramirez, is big, handsome, chunky, hunky.”\u003c/p>\n\u003cp>Arana says it’s especially important to get Bolivar’s story right because of all the ways in which it’s been wronged.\u003c/p>\n\u003cp>“In the past 200 years since Bolivar died, his legacy has been manipulated in so many ways. I mean, two Venezuelan presidents exhumed his bones and reburied him and tried to cloak themselves in his glory. … You know, Francisco Franco, who was the right-wing dictator of Spain, and Augusto Pinochet, who was the right-wing dictator of Chile, took him as their hero, and so did the revolutionaries, like Fidel Castro and Che Guevera. So this is a life that has been used for many purposes.”\u003c/p>\n\u003cp>One of the ideas the film gets right, Arana says, is the multiracial face of Bolivar’s revolution. On screen, as in real life, Bolivar sees a colonial system steeped in inequality, racial hierarchy and slavery, and fights to dismantle those divisions. For Edgar Ramirez, that legacy of Bolivar’s liberation still matters because “one of the greatest debates in Latin America will always be the social gap between rich people and poor people and that is something we inherited from colonial times. … There were so many privileges within the colonial system given by social position and racial background. That, I think, has affected how our societies developed and Bolivar was very aware of that.”\u003c/p>\n\u003cp>And because of Bolivar’s impassioned campaign for abolition, Ramirez says, his story in South America is connected to the North American story. “Abolition had started, the process had started, already in South America three or four decades before Lincoln’s time,” he says. “But those three generations — Washington, Bolivar and Lincoln — they are probably the greatest generations that this entire continent has ever given. And the values of Enlightenment were completely carried out about by these generations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the film’s imperfections, biographer Marie Arana says she hopes that audiences will see it as an entry point to understand the man and the landscape that made modern Latin America. \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=Latin+American+Icon+Simon+Bolivar+Gets+Biopic+Treatment+In+%27Liberator%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Joan Rivers, an Enduring Comic Who Turned Tragedy Into Success, Dies",
"headTitle": "Joan Rivers, an Enduring Comic Who Turned Tragedy Into Success, Dies | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Joan Rivers being interviewed on Forum back in 2010\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2010/05/2010-05-06b-forum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">Joan Rivers Dead at 81: Watch Some of Her Best Televised Moments\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"http://blogs.kqed.org/pop/files/2014/09/joan-rivers.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> Comedian Joan Rivers died today and KQED Pop has collected several of her TV appearances that exemplify her amazingly fast, acerbic wit.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>No one transformed bad times into sidesplitting comedy like Joan Rivers, who kept audiences laughing through a 50-year career that included bankruptcy, getting banned from \u003cem>The Tonight Show\u003c/em> and seeing a husband commit suicide.\u003c/p>\n\u003cp>She even built a standup routine around caring for a handicapped boyfriend.\u003c/p>\n\u003cp>“I lived for nine years with a man with one leg,” she told audiences in her 2012 standup special, \u003cem>Don’t Start With Me\u003c/em>. “One leg! He lost it in World War II. … He didn’t lose it, he knew \u003cem>exactly \u003c/em>where he left it. … [And] in my mind, that’s littering.”\u003c/p>\n\u003cfigure id=\"attachment_10141883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg\" alt=\"Joan Rivers in 1965. She began appearing on television variety programs like <em>The Ed Sullivan Show</em>.\" width=\"640\" height=\"644\" class=\"size-large wp-image-10141883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg 1431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-298x300.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan Rivers in 1965. She began appearing on television variety programs like \u003cem>The Ed Sullivan Show\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>But Rivers’ talent for rapid-fire jokes and edgy humor was stilled Thursday, when the comic died after complications following throat surgery. She was 81.\u003c/p>\n\u003cp>Born Joan Alexandra Molinsky in 1933, she ignored her family’s objections to become an actress and comic. She performed in the same New York clubs as Woody Allen and Barbra Streisand, writing lines for more established acts like Phyllis Diller and the puppet Topo Gigio.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Asked whether she felt bad writing for a puppet while starting out, \u003ca href=\"http://www.npr.org/2012/06/11/154753767/joan-rivers-hates-you-and-everyone-else\" target=\"_blank\" rel=\"noopener\">Rivers told WHYY’s \u003cem>Fresh Air\u003c/em> in 2012\u003c/a>, “I’ll write for Hitler [for] $500. … When you’re starving and got a car payment due? You go through any door that opens and you don’t know which is gonna be the one.”\u003c/p>\n\u003cp>By the mid-1960s, she was appearing in front of the camera for variety programs like \u003cem>The Ed Sullivan Show\u003c/em>, where she talked frankly about women at a time when you couldn’t even say the word “pregnant” on TV.\u003c/p>\n\u003cp>“A girl, you’re 30 years old, you’re not married, you’re an old maid,” she said in one 1967 \u003cem>Ed Sullivan Show\u003c/em> routine. “A man, he’s 90 years old, he’s not married, he’s a catch. It’s a whole different thing!”\u003c/p>\n\u003cfigure id=\"attachment_10141886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg\" alt=\"Rivers became permanent guest host for <em>The Tonight Show</em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\" width=\"640\" height=\"424\" class=\"size-large wp-image-10141886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers became permanent guest host for \u003cem>The Tonight Show\u003c/em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>But even though Sullivan and his wife were godparents to her daughter, Melissa, it was late-night host Johnny Carson who would become something of a mentor for Rivers, featuring her regularly on his \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>In one infamous exchange, Carson asked Rivers if men really liked smart women more.\u003c/p>\n\u003cp>Rivers shot back: “No man has ever put his hands up a woman’s dress looking for a library card.”\u003c/p>\n\u003cp>Carson made her the show’s permanent guest host in 1983. But their friendship would end a few years later after Rivers called to let him know she would host a rival late-night show on the Fox network.\u003c/p>\n\u003cp>“He hung up on me,” she told the Archive of American Television in an interview. “[I called] and said, ‘Johnny, it’s Joan, and I think I’m leaving the show. I have my own show at Fox,’ and then click. So then I called him back and I said, ‘Johnny!’ And he clicked down again. He would not hear me out.”\u003c/p>\n\u003cp>Carson would never speak to her again; he died in 2005.\u003c/p>\n\u003cfigure id=\"attachment_10141884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg\" alt=\"Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\" width=\"640\" height=\"420\" class=\"size-large wp-image-10141884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-300x196.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\u003c/figcaption>\u003c/figure>\n\u003cp>Rivers’\u003cem> Late Show\u003c/em> struggled from its start in 1986. Rivers and her executive producer husband, Edgar Rosenberg, clashed with Fox while she struggled to compete with Carson.\u003c/p>\n\u003cp>A year later, Fox canceled the program, leaving Rivers banned from the \u003cem>Tonight Show\u003c/em> and looking like a showbiz pariah. Rosenberg killed himself soon after; Rivers said her daughter Melissa was the one who authorities told first, leaving the then-teenager to tell her mother.\u003c/p>\n\u003cp>But she used humor to break the ice with audiences even then, remembering during the standup special \u003cem>An Audience With Joan Rivers\u003c/em> the first joke she told at her first performance after his death.\u003c/p>\n\u003cp>“I told the audience, ‘My husband killed himself and it was my fault,’ ” she said. ” ‘We were making love and I took the bag off my head.’ ”\u003c/p>\n\u003cp>Rivers told \u003cem>Fresh Air\u003c/em> the toughest thing about old age was seeing loved ones die.\u003c/p>\n\u003cp>“The loss is horrific,” she said. “When I go upstairs at night — it sounds so stupid — I always turn to my living room and I say, ‘Good night, Orin’ — he was a man I lived with for nine years — and ‘Good night, Edgar.’ … It’s terribly sad.”\u003c/p>\n\u003cp>But Rivers kept going through the ’90s, hosting a daytime talk show, developing a line of jewelry for the home shopping channel QVC and teaming with her daughter Melissa to offer biting commentary from the red carpet for Oscar pre-shows on the E! and TV Guide channels.\u003c/p>\n\u003cfigure id=\"attachment_10141885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg\" alt=\"At the 16th Annual Critics' Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\" width=\"640\" height=\"466\" class=\"size-large wp-image-10141885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-300x218.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At the 16th Annual Critics’ Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\u003c/figcaption>\u003c/figure>\n\u003cp>A recent documentary on her life, \u003cem>A Piece of Work\u003c/em>, highlighted her drive to stay relevant and youthful — working at a pace that would tire comics half her age. Its opening featured close-up shots of her face without makeup, revealing the nips and tucks of the countless plastic surgeries she joked about onstage.\u003c/p>\n\u003cp>The film also showed how tough she could be, taking on a heckler during a performance who objected to a joke that included a reference to deaf icon Helen Keller.\u003c/p>\n\u003cp>“Comedy is to make everybody laugh at everything and deal with things, you idiot,” she shouted from the stage.\u003c/p>\n\u003cp>And the controversies kept coming. Rivers was criticized for calling Michelle Obama transgender and saying Palestinian civilians deserved to die in the Gaza conflict.\u003c/p>\n\u003cp>But the fuss didn’t stop her from working. In her 80s, Rivers still juggled concert performances, a TV show on fashion, an Internet show and promotion for her 12th book, \u003cem>Diary of a Mad Diva\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10141882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg\" alt=\"Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\" width=\"640\" height=\"518\" class=\"size-large wp-image-10141882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-300x243.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>True to form, she had been talking up the book in New York the day before she stopped breathing during a minor procedure in a clinic Aug. 28. She was rushed to Mount Sinai Hospital, where doctors placed her in a medically induced coma, and she breathed with assistance from machines.\u003c/p>\n\u003cp>In a statement announcing her mother’s death, Melissa Rivers said she died peacefully “surrounded by family and close friends.”\u003c/p>\n\u003cp>“My mother’s greatest joy in life was to make people laugh,” the statement continued. “Although that is difficult to do right now, I know her final wish would be that we return to laughing soon.”\u003c/p>\n\u003cp>Joan Rivers’ attitude about show business was summed up in an appearance on comic Louis C.K.’s FX show \u003cem>Louie\u003c/em>, where she gave him a pep talk after a tough show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Think it’s been easy?” she said. “I have gone up, I’ve gone down; I’ve been bankrupt, I’ve been broke. But you do it. And you do it because … because we love it more than anything else.” \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=Joan+Rivers%2C+An+Enduring+Comic+Who+Turned+Tragedy+Into+Showbiz+Success%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "NPR's Eric Deggans says the comedian was a show business survivor whose tireless work ethic kept her relevant long after other comics would have faded away. She died Thursday at 81.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Joan Rivers being interviewed on Forum back in 2010\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2010/05/2010-05-06b-forum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">Joan Rivers Dead at 81: Watch Some of Her Best Televised Moments\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"http://blogs.kqed.org/pop/2014/09/04/joan-rivers-dead-at-81-watch-some-of-her-best-televised-moments/\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"http://blogs.kqed.org/pop/files/2014/09/joan-rivers.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003cp> Comedian Joan Rivers died today and KQED Pop has collected several of her TV appearances that exemplify her amazingly fast, acerbic wit.\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>No one transformed bad times into sidesplitting comedy like Joan Rivers, who kept audiences laughing through a 50-year career that included bankruptcy, getting banned from \u003cem>The Tonight Show\u003c/em> and seeing a husband commit suicide.\u003c/p>\n\u003cp>She even built a standup routine around caring for a handicapped boyfriend.\u003c/p>\n\u003cp>“I lived for nine years with a man with one leg,” she told audiences in her 2012 standup special, \u003cem>Don’t Start With Me\u003c/em>. “One leg! He lost it in World War II. … He didn’t lose it, he knew \u003cem>exactly \u003c/em>where he left it. … [And] in my mind, that’s littering.”\u003c/p>\n\u003cfigure id=\"attachment_10141883\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg\" alt=\"Joan Rivers in 1965. She began appearing on television variety programs like <em>The Ed Sullivan Show</em>.\" width=\"640\" height=\"644\" class=\"size-large wp-image-10141883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-1431x1440.jpg 1431w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-400x402.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-298x300.jpg 298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap650412040-1731667b61b053d4a9fbd193114eab01dcdbdc3c-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joan Rivers in 1965. She began appearing on television variety programs like \u003cem>The Ed Sullivan Show\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>But Rivers’ talent for rapid-fire jokes and edgy humor was stilled Thursday, when the comic died after complications following throat surgery. She was 81.\u003c/p>\n\u003cp>Born Joan Alexandra Molinsky in 1933, she ignored her family’s objections to become an actress and comic. She performed in the same New York clubs as Woody Allen and Barbra Streisand, writing lines for more established acts like Phyllis Diller and the puppet Topo Gigio.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Asked whether she felt bad writing for a puppet while starting out, \u003ca href=\"http://www.npr.org/2012/06/11/154753767/joan-rivers-hates-you-and-everyone-else\" target=\"_blank\" rel=\"noopener\">Rivers told WHYY’s \u003cem>Fresh Air\u003c/em> in 2012\u003c/a>, “I’ll write for Hitler [for] $500. … When you’re starving and got a car payment due? You go through any door that opens and you don’t know which is gonna be the one.”\u003c/p>\n\u003cp>By the mid-1960s, she was appearing in front of the camera for variety programs like \u003cem>The Ed Sullivan Show\u003c/em>, where she talked frankly about women at a time when you couldn’t even say the word “pregnant” on TV.\u003c/p>\n\u003cp>“A girl, you’re 30 years old, you’re not married, you’re an old maid,” she said in one 1967 \u003cem>Ed Sullivan Show\u003c/em> routine. “A man, he’s 90 years old, he’s not married, he’s a catch. It’s a whole different thing!”\u003c/p>\n\u003cfigure id=\"attachment_10141886\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg\" alt=\"Rivers became permanent guest host for <em>The Tonight Show</em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\" width=\"640\" height=\"424\" class=\"size-large wp-image-10141886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-1440x956.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap139147978964-7704ce2dcd6de2a9a665b224fe7b690f44d30e13-300x199.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers became permanent guest host for \u003cem>The Tonight Show\u003c/em> in 1983, a gig that ended when she left to host her own late-night show on Fox. Here she interviews Miss America Suzette Charles in 1984.\u003c/figcaption>\u003c/figure>\n\u003cp>But even though Sullivan and his wife were godparents to her daughter, Melissa, it was late-night host Johnny Carson who would become something of a mentor for Rivers, featuring her regularly on his \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>In one infamous exchange, Carson asked Rivers if men really liked smart women more.\u003c/p>\n\u003cp>Rivers shot back: “No man has ever put his hands up a woman’s dress looking for a library card.”\u003c/p>\n\u003cp>Carson made her the show’s permanent guest host in 1983. But their friendship would end a few years later after Rivers called to let him know she would host a rival late-night show on the Fox network.\u003c/p>\n\u003cp>“He hung up on me,” she told the Archive of American Television in an interview. “[I called] and said, ‘Johnny, it’s Joan, and I think I’m leaving the show. I have my own show at Fox,’ and then click. So then I called him back and I said, ‘Johnny!’ And he clicked down again. He would not hear me out.”\u003c/p>\n\u003cp>Carson would never speak to her again; he died in 2005.\u003c/p>\n\u003cfigure id=\"attachment_10141884\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg\" alt=\"Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\" width=\"640\" height=\"420\" class=\"size-large wp-image-10141884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-1440x945.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-400x262.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap8605061335-6f43fd308168b3f4b8ca18bce361a4aaf19634b4-300x196.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and Fox Chairman Barry Diller arrive for a news conference in Los Angeles to announce her late-night talk show on Fox.\u003c/figcaption>\u003c/figure>\n\u003cp>Rivers’\u003cem> Late Show\u003c/em> struggled from its start in 1986. Rivers and her executive producer husband, Edgar Rosenberg, clashed with Fox while she struggled to compete with Carson.\u003c/p>\n\u003cp>A year later, Fox canceled the program, leaving Rivers banned from the \u003cem>Tonight Show\u003c/em> and looking like a showbiz pariah. Rosenberg killed himself soon after; Rivers said her daughter Melissa was the one who authorities told first, leaving the then-teenager to tell her mother.\u003c/p>\n\u003cp>But she used humor to break the ice with audiences even then, remembering during the standup special \u003cem>An Audience With Joan Rivers\u003c/em> the first joke she told at her first performance after his death.\u003c/p>\n\u003cp>“I told the audience, ‘My husband killed himself and it was my fault,’ ” she said. ” ‘We were making love and I took the bag off my head.’ ”\u003c/p>\n\u003cp>Rivers told \u003cem>Fresh Air\u003c/em> the toughest thing about old age was seeing loved ones die.\u003c/p>\n\u003cp>“The loss is horrific,” she said. “When I go upstairs at night — it sounds so stupid — I always turn to my living room and I say, ‘Good night, Orin’ — he was a man I lived with for nine years — and ‘Good night, Edgar.’ … It’s terribly sad.”\u003c/p>\n\u003cp>But Rivers kept going through the ’90s, hosting a daytime talk show, developing a line of jewelry for the home shopping channel QVC and teaming with her daughter Melissa to offer biting commentary from the red carpet for Oscar pre-shows on the E! and TV Guide channels.\u003c/p>\n\u003cfigure id=\"attachment_10141885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg\" alt=\"At the 16th Annual Critics' Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\" width=\"640\" height=\"466\" class=\"size-large wp-image-10141885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-1440x1050.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-400x291.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/ap110114040006-a3b816877147533e7a1c5d279d995596080f710d-300x218.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">At the 16th Annual Critics’ Choice Movie Awards on Friday, Jan. 14, 2011, in Los Angeles. (AP Photo/Chris Pizzello)\u003c/figcaption>\u003c/figure>\n\u003cp>A recent documentary on her life, \u003cem>A Piece of Work\u003c/em>, highlighted her drive to stay relevant and youthful — working at a pace that would tire comics half her age. Its opening featured close-up shots of her face without makeup, revealing the nips and tucks of the countless plastic surgeries she joked about onstage.\u003c/p>\n\u003cp>The film also showed how tough she could be, taking on a heckler during a performance who objected to a joke that included a reference to deaf icon Helen Keller.\u003c/p>\n\u003cp>“Comedy is to make everybody laugh at everything and deal with things, you idiot,” she shouted from the stage.\u003c/p>\n\u003cp>And the controversies kept coming. Rivers was criticized for calling Michelle Obama transgender and saying Palestinian civilians deserved to die in the Gaza conflict.\u003c/p>\n\u003cp>But the fuss didn’t stop her from working. In her 80s, Rivers still juggled concert performances, a TV show on fashion, an Internet show and promotion for her 12th book, \u003cem>Diary of a Mad Diva\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10141882\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg\" alt=\"Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\" width=\"640\" height=\"518\" class=\"size-large wp-image-10141882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-1440x1166.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/2756090-06b42d947a49aaefffbe61fc315334b8a09d80e5-300x243.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rivers and mascot Ben arrive at the 10th annual Race to Deliver AIDS Benefit in 2003 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>True to form, she had been talking up the book in New York the day before she stopped breathing during a minor procedure in a clinic Aug. 28. She was rushed to Mount Sinai Hospital, where doctors placed her in a medically induced coma, and she breathed with assistance from machines.\u003c/p>\n\u003cp>In a statement announcing her mother’s death, Melissa Rivers said she died peacefully “surrounded by family and close friends.”\u003c/p>\n\u003cp>“My mother’s greatest joy in life was to make people laugh,” the statement continued. “Although that is difficult to do right now, I know her final wish would be that we return to laughing soon.”\u003c/p>\n\u003cp>Joan Rivers’ attitude about show business was summed up in an appearance on comic Louis C.K.’s FX show \u003cem>Louie\u003c/em>, where she gave him a pep talk after a tough show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Think it’s been easy?” she said. “I have gone up, I’ve gone down; I’ve been bankrupt, I’ve been broke. But you do it. And you do it because … because we love it more than anything else.” \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=Joan+Rivers%2C+An+Enduring+Comic+Who+Turned+Tragedy+Into+Showbiz+Success%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Director Richard Attenborough Brought Intimacy to Big Ideas",
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"content": "\u003cp>When Stephen Spielberg was looking for someone who could make dinosaurs seem plausible in \u003cem>Jurassic Park\u003c/em>, he asked fellow filmmaker Richard Attenborough to do something he hadn’t done in almost 14 years: act. Plenty of performers could look at green screens and convey a sense of wonder. What Attenborough could do while playing the owner of Jurassic Park, figured Spielberg, was flesh out the bigger picture — the why. And when he did, it sounded almost as if he was stating the filmmaking credo he’d lived by all his life.\u003c/p>\n\u003cp>“I wanted to show them something that wasn’t an illusion,” Attenborough’s park owner tells Laura Dern, as his dream comes crashing down around them. “Something that was real … something they could see and touch.”\u003c/p>\n\u003cfigure id=\"attachment_10141119\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\" alt=\"Director Richard Attenborough won two Academy Awards for his movie, <em>Gandhi</em>.\" width=\"600\" height=\"450\" class=\"size-full wp-image-10141119\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Richard Attenborough won two Academy Awards for his movie, \u003cem>Gandhi\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>That is more or less what Attenborough had been doing for five decades at that point, ever since 1947, when he was so persuasive in a British film noir called \u003cem>Brighton Rock\u003c/em>, that he risked being typecast as a thug when he played a baby-faced but cold-blooded teenager who killed his friends as casually as he killed his enemies.\u003c/p>\n\u003cp>If raising gooseflesh was what Attenborough did at the start of his acting career, raising consciousness was his aim once he stepped behind the camera. He personalized cautionary tales in \u003cem>Oh! What A Lovely War\u003c/em>, and his epic about military miscalculation, \u003cem>A Bridge Too Far\u003c/em>.\u003c/p>\n\u003cp>And he spent 20 years and all of his personal fortune, even mortgaging his house, in a struggle to bring a story about non-violence to the screen. It was a story Hollywood was convinced would never sell, about how the British empire was brought virtually to its knees, by a frail wisp of a man named Gandhi who employed passive resistance and hunger strikes to demand “that the fighting will stop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That plea was echoed five years later in \u003cem>Cry Freedom\u003c/em>, when Attenborough engaged audiences in the struggle against apartheid by concentrating his story on the words and personality of South African activist Steve Biko.\u003c/p>\n\u003cp>When Attenborough tackled less weighty subjects, the fire sometimes went out of his film making. His movies \u003cem>Chaplin\u003c/em>, and \u003cem>A Chorus Line\u003c/em> didn’t connect with audiences. \u003cem>Shadowlands\u003c/em> did, although it was arguably a tougher sell — a story of cancer and Christian theology that briefly turned Oxford academic C.S. Lewis into a matinee idol — mostly because Lewis had big ideas\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And big ideas were what fired the imagination of Richard Attenborough — ideas that he could turn into something an audience could see and 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=Director+Richard+Attenborough+Brought+Intimacy+to+Big+Ideas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Filmmaker Richard Attenborough took on big subjects in his films — South African apartheid in \u003cem>Cry Freedom\u003c/em>, or Indian independence in \u003cem>Gandhi\u003c/em>. NPR film critic Bob Mondello has this remembrance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Stephen Spielberg was looking for someone who could make dinosaurs seem plausible in \u003cem>Jurassic Park\u003c/em>, he asked fellow filmmaker Richard Attenborough to do something he hadn’t done in almost 14 years: act. Plenty of performers could look at green screens and convey a sense of wonder. What Attenborough could do while playing the owner of Jurassic Park, figured Spielberg, was flesh out the bigger picture — the why. And when he did, it sounded almost as if he was stating the filmmaking credo he’d lived by all his life.\u003c/p>\n\u003cp>“I wanted to show them something that wasn’t an illusion,” Attenborough’s park owner tells Laura Dern, as his dream comes crashing down around them. “Something that was real … something they could see and touch.”\u003c/p>\n\u003cfigure id=\"attachment_10141119\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/ap648973655288-9b6724ca85a0056cbfdc6adc1d7fbf0c6765957a-e1409007174286.jpg\" alt=\"Director Richard Attenborough won two Academy Awards for his movie, <em>Gandhi</em>.\" width=\"600\" height=\"450\" class=\"size-full wp-image-10141119\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Director Richard Attenborough won two Academy Awards for his movie, \u003cem>Gandhi\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>That is more or less what Attenborough had been doing for five decades at that point, ever since 1947, when he was so persuasive in a British film noir called \u003cem>Brighton Rock\u003c/em>, that he risked being typecast as a thug when he played a baby-faced but cold-blooded teenager who killed his friends as casually as he killed his enemies.\u003c/p>\n\u003cp>If raising gooseflesh was what Attenborough did at the start of his acting career, raising consciousness was his aim once he stepped behind the camera. He personalized cautionary tales in \u003cem>Oh! What A Lovely War\u003c/em>, and his epic about military miscalculation, \u003cem>A Bridge Too Far\u003c/em>.\u003c/p>\n\u003cp>And he spent 20 years and all of his personal fortune, even mortgaging his house, in a struggle to bring a story about non-violence to the screen. It was a story Hollywood was convinced would never sell, about how the British empire was brought virtually to its knees, by a frail wisp of a man named Gandhi who employed passive resistance and hunger strikes to demand “that the fighting will stop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That plea was echoed five years later in \u003cem>Cry Freedom\u003c/em>, when Attenborough engaged audiences in the struggle against apartheid by concentrating his story on the words and personality of South African activist Steve Biko.\u003c/p>\n\u003cp>When Attenborough tackled less weighty subjects, the fire sometimes went out of his film making. His movies \u003cem>Chaplin\u003c/em>, and \u003cem>A Chorus Line\u003c/em> didn’t connect with audiences. \u003cem>Shadowlands\u003c/em> did, although it was arguably a tougher sell — a story of cancer and Christian theology that briefly turned Oxford academic C.S. Lewis into a matinee idol — mostly because Lewis had big ideas\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And big ideas were what fired the imagination of Richard Attenborough — ideas that he could turn into something an audience could see and 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=Director+Richard+Attenborough+Brought+Intimacy+to+Big+Ideas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It might seem hard to describe \u003cem>The Giver\u003c/em> without revealing some of those plot points that touchy suspense fans call “spoilers.” But this brisk, deftly art-directed parable is basically unspoilable. Even viewers who know nothing of its source, Lois Lowry’s 1993 novel, will be able to anticipate every development.\u003c/p>\n\u003cp>That’s because Lowry’s vision of a serene but secretly corrupt future society offers little that wasn’t imagined decades earlier in \u003cem>1984\u003c/em>, \u003cem>Brave New World\u003c/em> and \u003cem>Fahrenheit 451\u003c/em>. Lowry just cooked such books down for a pre-teen audience that hasn’t read them.\u003c/p>\n\u003cp>After years of trying, producer and star Jeff Bridges finally got \u003cem>The Giver\u003c/em> made because of the success of \u003cem>The Hunger Games\u003c/em> and similar tales of noble teens in a world run by manipulative adults. So the first task was aging the novel’s protagonist (Jonas, played by Brenton Thwaites) from 12 to 16.\u003c/p>\n\u003cp>http://youtu.be/oYZxZups06w\u003c/p>\n\u003cp>Jonas lives in a community, called “the community,” that’s any high schooler’s vision of Hell: It’s run by guidance counselors. Where in \u003cem>Divergent\u003c/em> the kids were separated into different castes upon graduation, in \u003cem>The Giver\u003c/em> they’re given specific assignments. None is more specific than Jonas’. He’s the new receiver, assigned to learn the real history of humanity from the bearded, avuncular title character (Bridges, clearly enjoying the sound of his own voice).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the many questions the movie barely attempts to answer is, why do the positions of giver and receiver exist? The elders, led by an often holographic Meryl Streep, don’t want anyone else to know about the bad old days of war, famine and hatred. So why not assign Jonas to flip burgers for the rest of his life, and send the Giver on a long walk off a short pier?\u003c/p>\n\u003cp>Because, of course, there is violence just beneath the community’s veneer of calm. That’s one of the alarming if unsurprising things Jonas learns once he starts receiving — and stops taking his daily dose of mood controller. As in the substantially more macho \u003cem>Equilibrium\u003c/em>, ingestion of a Valium-like drug is required. This relaxant suppresses emotion and individuality, and even its users’ ability to distinguish color. So the first part of \u003cem>The Giver\u003c/em> is in black and white, like \u003cem>Pleasantville\u003c/em>.\u003c/p>\n\u003cp>If the movie hits ominous notes, they’ve all been heard many times before: There are no books or music in the futuristic planned community, human reproduction is controlled by the state, kissing is unknown and families are not genetically related. Jonas has merely been assigned to his father (Alexander Skarsgard) and mother (a drawn-faced Katie Holmes).\u003c/p>\n\u003cp>To make it less of a kiddie story, director Philip Noyce and scripters Michael Mitnick and Robert B. Weide have added romance (Jonas has the unauthorized hots for a classmate played by Odeya Rush) and boosted the action. There are chase scenes — including one on a bike path that’s lighted even though people aren’t allowed to go out at night — and confrontations. Also modestly exciting are the fragmentary flashbacks to a former receiver, played by Taylor Swift. (She and the community broke up, and they are never ever getting back together.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Jonas must make a choice, and leave his sterile home for the forbidden outback. It’s not a spoiler to reveal that he finds a refuge there. Or that this new abode offers the sort of picture-postcard coziness that could have been simulated by his former community’s devious elders. \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=%27The+Giver%27+Strikes+Old+And+Ominous+Notes+About+The+Dark+Side+Of+Serenity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It might seem hard to describe \u003cem>The Giver\u003c/em> without revealing some of those plot points that touchy suspense fans call “spoilers.” But this brisk, deftly art-directed parable is basically unspoilable. Even viewers who know nothing of its source, Lois Lowry’s 1993 novel, will be able to anticipate every development.\u003c/p>\n\u003cp>That’s because Lowry’s vision of a serene but secretly corrupt future society offers little that wasn’t imagined decades earlier in \u003cem>1984\u003c/em>, \u003cem>Brave New World\u003c/em> and \u003cem>Fahrenheit 451\u003c/em>. Lowry just cooked such books down for a pre-teen audience that hasn’t read them.\u003c/p>\n\u003cp>After years of trying, producer and star Jeff Bridges finally got \u003cem>The Giver\u003c/em> made because of the success of \u003cem>The Hunger Games\u003c/em> and similar tales of noble teens in a world run by manipulative adults. So the first task was aging the novel’s protagonist (Jonas, played by Brenton Thwaites) from 12 to 16.\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/oYZxZups06w'\n title='//www.youtube.com/embed/oYZxZups06w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jonas lives in a community, called “the community,” that’s any high schooler’s vision of Hell: It’s run by guidance counselors. Where in \u003cem>Divergent\u003c/em> the kids were separated into different castes upon graduation, in \u003cem>The Giver\u003c/em> they’re given specific assignments. None is more specific than Jonas’. He’s the new receiver, assigned to learn the real history of humanity from the bearded, avuncular title character (Bridges, clearly enjoying the sound of his own voice).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the many questions the movie barely attempts to answer is, why do the positions of giver and receiver exist? The elders, led by an often holographic Meryl Streep, don’t want anyone else to know about the bad old days of war, famine and hatred. So why not assign Jonas to flip burgers for the rest of his life, and send the Giver on a long walk off a short pier?\u003c/p>\n\u003cp>Because, of course, there is violence just beneath the community’s veneer of calm. That’s one of the alarming if unsurprising things Jonas learns once he starts receiving — and stops taking his daily dose of mood controller. As in the substantially more macho \u003cem>Equilibrium\u003c/em>, ingestion of a Valium-like drug is required. This relaxant suppresses emotion and individuality, and even its users’ ability to distinguish color. So the first part of \u003cem>The Giver\u003c/em> is in black and white, like \u003cem>Pleasantville\u003c/em>.\u003c/p>\n\u003cp>If the movie hits ominous notes, they’ve all been heard many times before: There are no books or music in the futuristic planned community, human reproduction is controlled by the state, kissing is unknown and families are not genetically related. Jonas has merely been assigned to his father (Alexander Skarsgard) and mother (a drawn-faced Katie Holmes).\u003c/p>\n\u003cp>To make it less of a kiddie story, director Philip Noyce and scripters Michael Mitnick and Robert B. Weide have added romance (Jonas has the unauthorized hots for a classmate played by Odeya Rush) and boosted the action. There are chase scenes — including one on a bike path that’s lighted even though people aren’t allowed to go out at night — and confrontations. Also modestly exciting are the fragmentary flashbacks to a former receiver, played by Taylor Swift. (She and the community broke up, and they are never ever getting back together.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, Jonas must make a choice, and leave his sterile home for the forbidden outback. It’s not a spoiler to reveal that he finds a refuge there. Or that this new abode offers the sort of picture-postcard coziness that could have been simulated by his former community’s devious elders. \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=%27The+Giver%27+Strikes+Old+And+Ominous+Notes+About+The+Dark+Side+Of+Serenity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Agatha Christie's Detective Poirot Solves his Last TV Mystery",
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"content": "\u003cp>Agatha Christie published her first novel, \u003cem>The Mysterious Affair at Styles, \u003c/em>in 1920. It featured fussy Belgian detective Hercule Poirot, who proved the most popular of all her mystery-solving characters. Hercule made his final appearance in 1975, in the novel \u003cem>Curtain — \u003c/em>and this month, nearly a century after he first appeared in print, the mystery series completes its lengthy run as a TV series, still starring David Suchet in the title role. But as the final episodes of television’s \u003cem>Poirot \u003c/em>provide closure, they are, for the moment, somewhat of a mystery themselves. In this case, though, it’s not a whodunit. It’s a where-are-they?\u003c/p>\n\u003cp>That’s because for the 13th and final season of Agatha Christie’s\u003cem> Poirot, \u003c/em>the show’s producers and distributors have staged a sort of new-media bait and switch. Suchet began playing Poirot, with his waxed mustache and elegant walking stick, on the PBS \u003cem>Mystery! \u003c/em>series way back in 1989. Suchet has been playing the detective ever since — referring to himself in the third person, always referring to his brain power as his “little grey cells,” and invariably holding court at the end of each episode to both solve and explain the mystery at hand.\u003c/p>\n\u003cp>This year’s final season of \u003cem>Poirot \u003c/em>presents the last five of the 70 episodes produced for TV, a video canon covering virtually all of Christie’s major Hercule Poirot novels and short stories. This season’s last hurrah began, as usual, on PBS. But after two episodes were shown, the series vanished earlier this month. The final three appear, beginning this week, not on broadcast TV, or even on cable — but on a streaming site called Acorn TV. Later this fall, the last three stories in the series will indeed show up on broadcast television, distributed to local public TV stations. But if you’re impatient — especially if you’re a loyal fan who has watched and enjoyed this series for a quarter century, enjoying it as I do as the TV equivalent of comfort food — the only way to get satisfaction, for now, is to seek out \u003ca href=\"http://www.acorn.tv/\" target=\"_blank\" rel=\"noopener\">www.Acorn.TV\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10140552\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/agatha-christie-s-poirot-series-13_acorn.tv__2703_custom-0f4c5d23142b1afbca0ff934966f9fc35f369461-e1407973619446.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/agatha-christie-s-poirot-series-13_acorn.tv__2703_custom-0f4c5d23142b1afbca0ff934966f9fc35f369461-e1407973619446.jpg\" alt=\"David Suchet has been playing Poirot since 1989. The actor has grown into the role, including perfecting the twinkle in his eye\" width=\"600\" height=\"901\" class=\"size-full wp-image-10140552\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Suchet has been playing Poirot since 1989. The actor has grown into the role, including perfecting the twinkle in his eye\u003c/figcaption>\u003c/figure>\n\u003cp>What you’ll get, once you get there, are these three stories, unspooled weekly. \u003cem>Elephants Can Remember, \u003c/em>available now, features Zoe Wanamaker, making her sixth and final appearance as crime novelist Ariadne Oliver, Agatha Christie’s thinly veiled version of herself. \u003cem>The Labors of Hercules \u003c/em>has Hercule fighting depression after failing to catch a killer. And the final episode, called \u003cem>Curtain: Poirot’s Last Case, \u003c/em>is precisely that. It features the return of Hugh Fraser as Captain Arthur Hastings, who basically served as Dr. Watson to Poirot’s Sherlock Holmes for the TV show’s first eight seasons. They reunite at the same estate, at Styles, where they solved their first case together — but this time both men are decades older, and Poirot is in a wheelchair, in ill health. But he still has enough fire to complain, when being steered on a stroll around the grounds, about the lodgings, the food, and even the way his old friend pushes Poirot’s wheelchair.\u003c/p>\n\u003cp>\u003cem>Poirot’s Last Case \u003c/em>ends like any other, with the detective patiently and proudly explaining the facts and exposing the murderer. The key difference, in this episode, is that he’s doing it from beyond the grave. And if you think I should have prefaced that with some sort of 40-year-old spoiler alert, we have very different ideas about how long a mystery should be kept a secret.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But since these are, absolutely, the last TV episodes featuring Suchet as Poirot, they do provide a satisfying conclusion to a very long-running viewing experience. The actor has grown into the role, sporting wrinkles to match the wisdom, and perfecting the twinkle in his eye whenever, as the detective himself would put it, Poirot has finally solved the case as only Poirot can. And think of it: The actors of the current movie \u003cem>Boyhood \u003c/em>have gotten lots of praise for filming and playing their roles over a 12-year period. David Suchet, as Hercule Poirot, has done the same thing for twice as long.\u003c/p>\n\u003cp>He’s done it so long, in fact, that he’s ending his run on a medium that didn’t even exist when he started. Wrap your little gray cells around \u003cem>that. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>David Bianculli is founder and editor of the website \u003c/em>\u003ca href=\"http://www.tvworthwatching.com/\" target=\"_blank\" rel=\"noopener\">TV Worth Watching\u003c/a>\u003cem> and teaches TV and film history at Rowan University in New Jersey.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Case+Closed%3A+Agatha+Christie%27s+Detective+Poirot+Solves+His+Last+TV+Mystery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Agatha Christie published her first novel, \u003cem>The Mysterious Affair at Styles, \u003c/em>in 1920. It featured fussy Belgian detective Hercule Poirot, who proved the most popular of all her mystery-solving characters. Hercule made his final appearance in 1975, in the novel \u003cem>Curtain — \u003c/em>and this month, nearly a century after he first appeared in print, the mystery series completes its lengthy run as a TV series, still starring David Suchet in the title role. But as the final episodes of television’s \u003cem>Poirot \u003c/em>provide closure, they are, for the moment, somewhat of a mystery themselves. In this case, though, it’s not a whodunit. It’s a where-are-they?\u003c/p>\n\u003cp>That’s because for the 13th and final season of Agatha Christie’s\u003cem> Poirot, \u003c/em>the show’s producers and distributors have staged a sort of new-media bait and switch. Suchet began playing Poirot, with his waxed mustache and elegant walking stick, on the PBS \u003cem>Mystery! \u003c/em>series way back in 1989. Suchet has been playing the detective ever since — referring to himself in the third person, always referring to his brain power as his “little grey cells,” and invariably holding court at the end of each episode to both solve and explain the mystery at hand.\u003c/p>\n\u003cp>This year’s final season of \u003cem>Poirot \u003c/em>presents the last five of the 70 episodes produced for TV, a video canon covering virtually all of Christie’s major Hercule Poirot novels and short stories. This season’s last hurrah began, as usual, on PBS. But after two episodes were shown, the series vanished earlier this month. The final three appear, beginning this week, not on broadcast TV, or even on cable — but on a streaming site called Acorn TV. Later this fall, the last three stories in the series will indeed show up on broadcast television, distributed to local public TV stations. But if you’re impatient — especially if you’re a loyal fan who has watched and enjoyed this series for a quarter century, enjoying it as I do as the TV equivalent of comfort food — the only way to get satisfaction, for now, is to seek out \u003ca href=\"http://www.acorn.tv/\" target=\"_blank\" rel=\"noopener\">www.Acorn.TV\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10140552\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/agatha-christie-s-poirot-series-13_acorn.tv__2703_custom-0f4c5d23142b1afbca0ff934966f9fc35f369461-e1407973619446.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/agatha-christie-s-poirot-series-13_acorn.tv__2703_custom-0f4c5d23142b1afbca0ff934966f9fc35f369461-e1407973619446.jpg\" alt=\"David Suchet has been playing Poirot since 1989. The actor has grown into the role, including perfecting the twinkle in his eye\" width=\"600\" height=\"901\" class=\"size-full wp-image-10140552\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Suchet has been playing Poirot since 1989. The actor has grown into the role, including perfecting the twinkle in his eye\u003c/figcaption>\u003c/figure>\n\u003cp>What you’ll get, once you get there, are these three stories, unspooled weekly. \u003cem>Elephants Can Remember, \u003c/em>available now, features Zoe Wanamaker, making her sixth and final appearance as crime novelist Ariadne Oliver, Agatha Christie’s thinly veiled version of herself. \u003cem>The Labors of Hercules \u003c/em>has Hercule fighting depression after failing to catch a killer. And the final episode, called \u003cem>Curtain: Poirot’s Last Case, \u003c/em>is precisely that. It features the return of Hugh Fraser as Captain Arthur Hastings, who basically served as Dr. Watson to Poirot’s Sherlock Holmes for the TV show’s first eight seasons. They reunite at the same estate, at Styles, where they solved their first case together — but this time both men are decades older, and Poirot is in a wheelchair, in ill health. But he still has enough fire to complain, when being steered on a stroll around the grounds, about the lodgings, the food, and even the way his old friend pushes Poirot’s wheelchair.\u003c/p>\n\u003cp>\u003cem>Poirot’s Last Case \u003c/em>ends like any other, with the detective patiently and proudly explaining the facts and exposing the murderer. The key difference, in this episode, is that he’s doing it from beyond the grave. And if you think I should have prefaced that with some sort of 40-year-old spoiler alert, we have very different ideas about how long a mystery should be kept a secret.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But since these are, absolutely, the last TV episodes featuring Suchet as Poirot, they do provide a satisfying conclusion to a very long-running viewing experience. The actor has grown into the role, sporting wrinkles to match the wisdom, and perfecting the twinkle in his eye whenever, as the detective himself would put it, Poirot has finally solved the case as only Poirot can. And think of it: The actors of the current movie \u003cem>Boyhood \u003c/em>have gotten lots of praise for filming and playing their roles over a 12-year period. David Suchet, as Hercule Poirot, has done the same thing for twice as long.\u003c/p>\n\u003cp>He’s done it so long, in fact, that he’s ending his run on a medium that didn’t even exist when he started. Wrap your little gray cells around \u003cem>that. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>David Bianculli is founder and editor of the website \u003c/em>\u003ca href=\"http://www.tvworthwatching.com/\" target=\"_blank\" rel=\"noopener\">TV Worth Watching\u003c/a>\u003cem> and teaches TV and film history at Rowan University in New Jersey.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Case+Closed%3A+Agatha+Christie%27s+Detective+Poirot+Solves+His+Last+TV+Mystery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"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.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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