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"content": "\u003cp>Larry McMurtry may well be the only Academy Award winner who used some of the precious moments of his acceptance speech to thank booksellers: “From the humblest paperback exchange to the masters of the great bookshops of the world, all are contributors to the survival of the culture of the book, a wonderful culture which we musn’t lose,” he told the audience in 2006 as he accepted the Oscar for his screenplay for \u003cem>Brokeback Mountain\u003c/em> — which was based on a short story.\u003c/p>\n\u003cp>In addition to being a Pulitzer Prize-winning novelist and an Oscar-winning screenwriter, McMurtry has been a bookseller for most of his life. He still has a collection of 200,000 books in his private library and store in Archer City, Texas. His latest novel, \u003cem>The Last Kind Words Saloon,\u003c/em> is a spare and unsentimental story about two Western icons, Wyatt Earp and Doc Holliday.\u003c/p>\n\u003cfigure id=\"attachment_10135597\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg\" alt=\"Writer Larry McMurtry is also the founder and owner of the Booked Up bookstore in Archer City, Texas.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Larry-McMurtry-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Writer Larry McMurtry is also the founder and owner of the Booked Up bookstore in Archer City, Texas. \u003ccite>(LM Otero/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A number of McMurtry’s books have been made into successful films, including \u003cem>Hud, The Last Picture Show \u003c/em>and \u003cem>Terms of Endearment\u003c/em>. His Pulitzer Prize-winning novel, \u003cem>Lonesome Dove, \u003c/em>was a popular TV miniseries starring Robert Duvall and Tommy Lee Jones.\u003c/p>\n\u003cp>McMurtry says he never saw the miniseries and doesn’t think \u003cem>Lonesome Dove \u003c/em>is his best book. “I think of \u003cem>Lonesome Dove\u003c/em> as the \u003cem>Gone With the Wind\u003c/em> of the West,” he says. “It’s a pretty good book; it’s not a towering masterpiece.”\u003c/p>\n\u003cp>McMurtry comes by his affinity for the West naturally. His grandfather made his living breaking horses; his father raised cattle. McMurtry grew up in Texas at a time when ranching was in its waning days. He views the West with a realist’s eye but understands why it has taken on mythic proportions for so many.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The West is mostly a very beautiful place,” McMurtry says. “They’re all those lovely spaces; they’re all those running horses. It’s a poetic imagery and it’s been there for a long time.”\u003c/p>\n\u003cp>But for someone who feels so connected to the West, McMurtry doesn’t buy into the myth of the cowboy as hero.\u003c/p>\n\u003cp>“To me it was hollow,” he says, “and I think it was hollow for my father, though he would not have ever brought that to his conscious mind. He totally loved cowboys and so did most of the cowboys he worked with and that got him through his life. But he knew perfectly well that it wouldn’t last another generation … it just was not going to last.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\" alt=\"Last Kind Words Saloon\" width=\"300\" height=\"455\" class=\"alignright size-full wp-image-10135600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon-197x300.jpg 197w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In his new book, \u003cem>The Last Kind Words Saloon,\u003c/em> McMurtry creates an unvarnished picture of one of the heroes of Western myth, Wyatt Earp, and his sidekick, Doc Holliday. Over the years Earp has been portrayed as a legendary lawman, but McMurtry says it’s a reputation he doesn’t deserve.\u003c/p>\n\u003cp>“Wyatt didn’t do much of anything except drink and pester his wife and run around,” he says. “He didn’t do anything remarkable his whole life, ever.”\u003c/p>\n\u003cp>McMurtry strips Earp down to a guy who doesn’t talk much, hits his wife and gets people killed for no particularly good reason. Earp and Holliday spend a lot of time doing nothing. At one point they try, unsuccessfully, to become stars in Buffalo Bill’s Wild West show. The duo’s adventures culminate in the infamous shootout at the O.K. Corral.\u003c/p>\n\u003cp>In McMurtry’s portrayal of the confrontation, the shooting happens almost by accident and is over in seconds. Three men are killed, and Earp’s two brothers are injured. Earp lives to be an old man who has forgotten much of his past. It’s not a flattering picture, but McMurtry says he didn’t deliberately set out to debunk the myth.\u003c/p>\n\u003cp>“I was just wanting to make the novel come to the right end. It was not a terrific animus against the Earps. They weren’t very nice men; certainly Wyatt was not a very nice man. I didn’t have a grand overall plan, I just wanted to write a novel about the winding down of the West.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McMurtry has written 31 novels, not all of them Westerns. Some years back he said he was bored with the 19th century American West. But he keeps coming back to it. There is something about the myth a writer can’t resist. \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=Larry+McMurtry+Loves+The+West%2C+But+Knocks+The+Cowboy+Off+His+High+Horse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The West is mostly a very beautiful place,” McMurtry says. “They’re all those lovely spaces; they’re all those running horses. It’s a poetic imagery and it’s been there for a long time.”\u003c/p>\n\u003cp>But for someone who feels so connected to the West, McMurtry doesn’t buy into the myth of the cowboy as hero.\u003c/p>\n\u003cp>“To me it was hollow,” he says, “and I think it was hollow for my father, though he would not have ever brought that to his conscious mind. He totally loved cowboys and so did most of the cowboys he worked with and that got him through his life. But he knew perfectly well that it wouldn’t last another generation … it just was not going to last.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg\" alt=\"Last Kind Words Saloon\" width=\"300\" height=\"455\" class=\"alignright size-full wp-image-10135600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Last-Kind-Words-Saloon-197x300.jpg 197w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>In his new book, \u003cem>The Last Kind Words Saloon,\u003c/em> McMurtry creates an unvarnished picture of one of the heroes of Western myth, Wyatt Earp, and his sidekick, Doc Holliday. Over the years Earp has been portrayed as a legendary lawman, but McMurtry says it’s a reputation he doesn’t deserve.\u003c/p>\n\u003cp>“Wyatt didn’t do much of anything except drink and pester his wife and run around,” he says. “He didn’t do anything remarkable his whole life, ever.”\u003c/p>\n\u003cp>McMurtry strips Earp down to a guy who doesn’t talk much, hits his wife and gets people killed for no particularly good reason. Earp and Holliday spend a lot of time doing nothing. At one point they try, unsuccessfully, to become stars in Buffalo Bill’s Wild West show. The duo’s adventures culminate in the infamous shootout at the O.K. Corral.\u003c/p>\n\u003cp>In McMurtry’s portrayal of the confrontation, the shooting happens almost by accident and is over in seconds. Three men are killed, and Earp’s two brothers are injured. Earp lives to be an old man who has forgotten much of his past. It’s not a flattering picture, but McMurtry says he didn’t deliberately set out to debunk the myth.\u003c/p>\n\u003cp>“I was just wanting to make the novel come to the right end. It was not a terrific animus against the Earps. They weren’t very nice men; certainly Wyatt was not a very nice man. I didn’t have a grand overall plan, I just wanted to write a novel about the winding down of the West.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McMurtry has written 31 novels, not all of them Westerns. Some years back he said he was bored with the 19th century American West. But he keeps coming back to it. There is something about the myth a writer can’t resist. \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=Larry+McMurtry+Loves+The+West%2C+But+Knocks+The+Cowboy+Off+His+High+Horse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he said. \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=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The writer of books including \u003cem>People of the Deer\u003c/em> and \u003cem>The Dog Who Wouldn't Be\u003c/em>, was also an ardent campaigner for environmental causes well into his later years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Farley Mowat, the Canadian author of the nature classic \u003cem>Never Cry Wolf\u003c/em>, has died at age 92, Canadian media report.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.thestar.com/entertainment/books/2014/05/07/farley_mowat_acclaimed_canadian_author_dead_at_92.html\">The Star\u003c/a> \u003c/em>quotes Mowat’s brother, John, as saying the acclaimed writer and environmentalist died Tuesday, just a few days shy of his 93rd birthday.\u003c/p>\n\u003cp>\u003ca href=\"http://m.theglobeandmail.com/news/national/acclaimed-canadian-author-farley-mowat-dead-at-92/article18511064/?service=mobile\">\u003cem>The Globe and Mail\u003c/em> writes:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“In a 50-plus-year career as a freelance writer, he wrote more than 40 books including several memoirs, and won many prizes and honours including the Governor General’s Literary Award, the Order of Canada and several honorary degrees. Even as recently as July, 2009, Nicholas D. Kristof, an op-ed columnist for the New York Times, listed Mr. Mowat’s \u003cem>The Dog who Wouldn’t Be\u003c/em> (first published in 1957) as one of the best children’s books of all time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Besides being a best-selling author and “one of the elder statesmen of Canadian literature,” the \u003cem>Globe and Mail\u003c/em> describes Mowat as “a trickster, a ferocious imp with a silver pen, an ardent environmentalist who opened up the idea of the North to curious southerners, a public clown who hid his shyness behind flamboyant rum-swigging and kilt-flipping, and a passionate polemicist who blurred the lines between fiction and facts to dramatize his cause. ”\u003c/p>\n\u003cp>\u003cem>The Star\u003c/em> says:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mowat has never been one to back away from controversy. A 2012 Toronto Star \u003ca href=\"http://www.thestar.com/entertainment/books/2012/05/11/farley_mowats_legacy_our_supreme_storyteller.html\">profile\u003c/a> of the author of dozens of books — starting with \u003cem>People of the Deer\u003c/em>, published in 1952, to his memoirs \u003cem>Otherwise\u003c/em>, published in 2008, and \u003cem>Eastern Passage\u003c/em>in 2010 — described him as still rising at 6:30 to walk his dog, and begin his writing after breakfast with his wife of 55 years, Claire.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In his advanced years, Mowat continued to actively campaign to protect the Canadian wilderness he so loved. \u003ca href=\"http://www.cbc.ca/thecurrent/episode/2014/05/01/wifi-in-some-of-canadas-national-parks-gets-a-fuzzy-reception-from-campers/\">He was recently quoted by CBC Radio\u003c/a> voicing his opposition to extending wifi service to the country’s national parks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My thoughts can be expressed quite simply. I think it is a disastrous, quite stupid, idiotic concept, and should be eliminated immediately,” he told the Canadian Broadcast Corp.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I have very strong feelings that national parks, provincial parks, any kind of parks, that are theoretically set up to provide for the protection of nature, in some form or another, should be respected absolutely and ultimately and human beings should be kept out of them as much as possible,” he said. \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=Author+Farley+Mowat%2C+Who+Wrote+%27Never+Cry+Wolf%2C%27+Dies+At+92+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "From Flower To Factory, These Bees Are No Bumblers",
"headTitle": "From Flower To Factory, These Bees Are No Bumblers | KQED",
"content": "\u003cp>Fortunate happenstance has led to me reviewing Laline Paull’s \u003cem>The Bees\u003c/em> alongside Dave Goulson’s \u003cem>A Sting in the Tale\u003c/em>. I am more than a little obsessed with bees, honey, watching wildlife and reading dystopias, and am therefore predisposed to find both books interesting. Together they make a splendid double-header of fiction and non-fiction: there is a precision and economy to the former and an almost lazy charm to the latter that makes them remarkably complementary. Where \u003cem>The Bees\u003c/em> captures the fervor and fierceness of hive life from the perspective of one of its workers, \u003cem>A Sting in the Tale\u003c/em> is very much the narrative of a friendly professor sitting in a garden, holding forth on his favourite subject while watching a bumblebee buzz by.\u003c/p>\n\u003cp>Paull’s novel is riveting. Flora 717 is of ignoble kin, the very humblest of workers in a honeybee hive: the Sanitation workers. All other workers are associated with specific flowers: where Teasel kin work the Nurseries, Thistle kin guard the hive, and Sage priestesses govern in the Queen’s name, Floras are dismissed as unworthy of differentiation and forbidden to speak. But from her first emergence 717 is marked by a Sage priestess as unusual: much larger and uglier than her kin, she nevertheless has the capacity to produce royal jelly, called Flow, at a time when the hive is in dire need of more nurses. This first distinction leads to more, and Flora 717 gradually learns the hive’s inner workings — and troubling secrets.\u003c/p>\n\u003cp>The prose is lovely without being distracting, and the way Paull relays the bees’ world through scent, heat, and movement is immensely successful. There were points at which I was jarred by a sudden anthropomorphization — a bee prodding another bee with a stick, for instance — but for the most part I loved the stylistic choices governing the bees’ language and life. The bees learn the Latin names of flowers by seducing them through pollination; they name all enemies of the hive The Myriad; they have scent-painted histories of the hive in a sort of library. It’s evocative and beautiful.\u003c/p>\n\u003cp>Working in a tradition of anthropomorphised animal fables such as \u003cem>Animal Farm \u003c/em>and \u003cem>Watership Down, \u003c/em>Paull distinguishes herself: instead of using the rhythms and mores of animals as a central metaphor for political or social allegory, \u003cem>The Bees\u003c/em> begins and ends with the hive, effectively dramatizing its lifecycle without the sound of any one axe grinding in the background. \u003cem> \u003c/em>Indeed, the somewhat extraneous frame narrative — a man looking at the hive while considering whether or not to sell the land it’s on — brings this home: humans layer the hive with their own meanings, but the bees are utterly indifferent to them, and their respective stories and realities do not match.\u003c/p>\n\u003cp>The laid-back, avuncular congeniality of Goulson’s rambling \u003cem>Sting in the Tale\u003c/em> makes quite a contrast to Flora 717’s compelling, high-stakes story. Book-ended with the story of the British short-haired bumblebee’s introduction to New Zealand, subsequent extinction in the UK, and very recent plans for its reintroduction with New Zealand stock, \u003cem>Tale\u003c/em> melts memoir and conservation issues into a sweet pot, moving from subject to subject very much in the manner of a foraging bee seeking flowers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It took some getting used to at first; the preface especially seems to delight in relaying boyhood ventures into conservation that go horribly, upsettingly wrong, and the sizzled bees and decapitated quails are rather at odds with the cheerfully indifferent (though perhaps slightly embarrassed) tone in which Goulson describes them. But once his passion for conservation is kindled, the book is warm and delightful: I frequently found myself wanting to put it down to go bird and bee-watching, to find for myself the species he discusses.\u003c/p>\n\u003cp>Sometimes the frequency of Goulson’s anecdotes about his doctoral students gave me pause, as I couldn’t help but wonder whether they’d given permission to have their divorces, appearances, and eating habits so freely detailed — they may well have done, but I nevertheless felt uncomfortable reading about them. I was much happier with the book when Goulson stuck to describing ecology, especially the ways in which thousands of moving parts work together to create a meadow landscape we take for granted — or, conversely, how unnatural and convoluted are the processes that bring us something as ubiquitous as ketchup:\u003c/p>\n\u003cp>\u003cem>When you next squirt Heinz tomato ketchup on to your fish and chips, reflect on the nature of the modern world. Your ketchup was most likely made in a factory in the Netherlands from tomatoes grown in Spain, pollinated by Turkish bees reared in a factory in Slovakia.\u003c/em>\u003c/p>\n\u003cp>I had no idea that bumblebees are commercially reared, nor that the industry is apparently haphazardly regulated. I found this, like many of the book’s anecdotes — whether about training nest-sniffing dogs, studying bees in Tasmania, or starting up an immensely successful bumblebee charity from humble beginnings — memorable and interesting.\u003c/p>\n\u003cp>While I knew a fair amount about honeybees going in, \u003cem>A Sting in the Tale\u003c/em>‘s focus on bumblebees drove home how much I’d assumed them to be similar creatures when they’re notably distinct and fascinating in their own right. The chapters on bumblebee enemies and reproduction resonated with me especially, having just seen those aspects colourfully plotted through \u003cem>The Bees\u003c/em>. Given how much Goulson’s information reads like medieval history – all queens being usurped and workers being enslaved under Cuckoo bees — I found myself wondering what a novel called \u003cem>The Bumblebees \u003c/em>would be like.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Reading these books back to back was thought-provoking in another sense: it made me realize the extent to which my love of bees comes of only half-knowing them. We see their societies, their sisterhoods and motherhoods, and can’t help but layer our meanings and musings over them to shore up the gap between what they do and what we see. Goulson frequently reiterates how, in spite of multiple scientific advances and innumerable field trips and research papers, much about bees remains a mystery to us; Paull, in giving us a highly detailed, immersive fantasy of a hive’s interior, says essentially the same thing. \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=From+Flower+To+Factory%2C+These+Bees+Are+No+Bumblers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fortunate happenstance has led to me reviewing Laline Paull’s \u003cem>The Bees\u003c/em> alongside Dave Goulson’s \u003cem>A Sting in the Tale\u003c/em>. I am more than a little obsessed with bees, honey, watching wildlife and reading dystopias, and am therefore predisposed to find both books interesting. Together they make a splendid double-header of fiction and non-fiction: there is a precision and economy to the former and an almost lazy charm to the latter that makes them remarkably complementary. Where \u003cem>The Bees\u003c/em> captures the fervor and fierceness of hive life from the perspective of one of its workers, \u003cem>A Sting in the Tale\u003c/em> is very much the narrative of a friendly professor sitting in a garden, holding forth on his favourite subject while watching a bumblebee buzz by.\u003c/p>\n\u003cp>Paull’s novel is riveting. Flora 717 is of ignoble kin, the very humblest of workers in a honeybee hive: the Sanitation workers. All other workers are associated with specific flowers: where Teasel kin work the Nurseries, Thistle kin guard the hive, and Sage priestesses govern in the Queen’s name, Floras are dismissed as unworthy of differentiation and forbidden to speak. But from her first emergence 717 is marked by a Sage priestess as unusual: much larger and uglier than her kin, she nevertheless has the capacity to produce royal jelly, called Flow, at a time when the hive is in dire need of more nurses. This first distinction leads to more, and Flora 717 gradually learns the hive’s inner workings — and troubling secrets.\u003c/p>\n\u003cp>The prose is lovely without being distracting, and the way Paull relays the bees’ world through scent, heat, and movement is immensely successful. There were points at which I was jarred by a sudden anthropomorphization — a bee prodding another bee with a stick, for instance — but for the most part I loved the stylistic choices governing the bees’ language and life. The bees learn the Latin names of flowers by seducing them through pollination; they name all enemies of the hive The Myriad; they have scent-painted histories of the hive in a sort of library. It’s evocative and beautiful.\u003c/p>\n\u003cp>Working in a tradition of anthropomorphised animal fables such as \u003cem>Animal Farm \u003c/em>and \u003cem>Watership Down, \u003c/em>Paull distinguishes herself: instead of using the rhythms and mores of animals as a central metaphor for political or social allegory, \u003cem>The Bees\u003c/em> begins and ends with the hive, effectively dramatizing its lifecycle without the sound of any one axe grinding in the background. \u003cem> \u003c/em>Indeed, the somewhat extraneous frame narrative — a man looking at the hive while considering whether or not to sell the land it’s on — brings this home: humans layer the hive with their own meanings, but the bees are utterly indifferent to them, and their respective stories and realities do not match.\u003c/p>\n\u003cp>The laid-back, avuncular congeniality of Goulson’s rambling \u003cem>Sting in the Tale\u003c/em> makes quite a contrast to Flora 717’s compelling, high-stakes story. Book-ended with the story of the British short-haired bumblebee’s introduction to New Zealand, subsequent extinction in the UK, and very recent plans for its reintroduction with New Zealand stock, \u003cem>Tale\u003c/em> melts memoir and conservation issues into a sweet pot, moving from subject to subject very much in the manner of a foraging bee seeking flowers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It took some getting used to at first; the preface especially seems to delight in relaying boyhood ventures into conservation that go horribly, upsettingly wrong, and the sizzled bees and decapitated quails are rather at odds with the cheerfully indifferent (though perhaps slightly embarrassed) tone in which Goulson describes them. But once his passion for conservation is kindled, the book is warm and delightful: I frequently found myself wanting to put it down to go bird and bee-watching, to find for myself the species he discusses.\u003c/p>\n\u003cp>Sometimes the frequency of Goulson’s anecdotes about his doctoral students gave me pause, as I couldn’t help but wonder whether they’d given permission to have their divorces, appearances, and eating habits so freely detailed — they may well have done, but I nevertheless felt uncomfortable reading about them. I was much happier with the book when Goulson stuck to describing ecology, especially the ways in which thousands of moving parts work together to create a meadow landscape we take for granted — or, conversely, how unnatural and convoluted are the processes that bring us something as ubiquitous as ketchup:\u003c/p>\n\u003cp>\u003cem>When you next squirt Heinz tomato ketchup on to your fish and chips, reflect on the nature of the modern world. Your ketchup was most likely made in a factory in the Netherlands from tomatoes grown in Spain, pollinated by Turkish bees reared in a factory in Slovakia.\u003c/em>\u003c/p>\n\u003cp>I had no idea that bumblebees are commercially reared, nor that the industry is apparently haphazardly regulated. I found this, like many of the book’s anecdotes — whether about training nest-sniffing dogs, studying bees in Tasmania, or starting up an immensely successful bumblebee charity from humble beginnings — memorable and interesting.\u003c/p>\n\u003cp>While I knew a fair amount about honeybees going in, \u003cem>A Sting in the Tale\u003c/em>‘s focus on bumblebees drove home how much I’d assumed them to be similar creatures when they’re notably distinct and fascinating in their own right. The chapters on bumblebee enemies and reproduction resonated with me especially, having just seen those aspects colourfully plotted through \u003cem>The Bees\u003c/em>. Given how much Goulson’s information reads like medieval history – all queens being usurped and workers being enslaved under Cuckoo bees — I found myself wondering what a novel called \u003cem>The Bumblebees \u003c/em>would be like.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reading these books back to back was thought-provoking in another sense: it made me realize the extent to which my love of bees comes of only half-knowing them. We see their societies, their sisterhoods and motherhoods, and can’t help but layer our meanings and musings over them to shore up the gap between what they do and what we see. Goulson frequently reiterates how, in spite of multiple scientific advances and innumerable field trips and research papers, much about bees remains a mystery to us; Paull, in giving us a highly detailed, immersive fantasy of a hive’s interior, says essentially the same thing. \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=From+Flower+To+Factory%2C+These+Bees+Are+No+Bumblers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There have been hundreds of monster movies over the years, but only a handful of enduringly great movie \u003cem>monsters\u003c/em>. Of those, only two were created for the screen: King Kong, the giant ape atop the Empire State Building, and his Japanese heir, Godzilla, the city-flattening sea monster who’s a genuinely terrific pop icon. He not only stars in movies — Hollywood is bringing out a new \u003cem>Godzilla\u003c/em> on May 16 — but he’s even played basketball with Charles Barkley in a commercial for Nike.\u003c/p>\n\u003cp>It’s been six decades since \u003cem>Godzilla\u003c/em> first hit the screen, and to celebrate the big guy’s birthday, Rialto Pictures is releasing Ishiro Honda’s 1954 original — in a restored, 60th-anniversary edition — in theaters. I’ve seen \u003cem>Godzilla\u003c/em> many times since I was a kid, but watching it again, I was struck that it might be the best single film about the terrors of the nuclear age.\u003c/p>\n\u003cp>I suspect you know the plot. It begins when American H-bomb tests in the Pacific disturb the watery environment that’s the home of Gojira, as the monster is called in Japanese. After sinking assorted ships, this enormous beast winds up in Tokyo, where he stomps on buildings, flosses with power lines and blasts citizens with his radioactive bad breath. When the army is unable to stop him, the only hope is a new invention called the Oxygen Destroyer. But its idealistic creator is reluctant to reveal it for fear it will become a weapon — just look at the destruction that followed from splitting the atom.\u003c/p>\n\u003cp>Yet even as the inventor says this, the movie itself is offering us the seductive spectacle of violent ruin. And make no mistake: Destruction is great to look at. There’s an amoral pleasure to be had in watching Godzilla reduce Tokyo to fiery rubble, rather like the beauty of seeing those napalmed palm trees flare like matches in \u003cem>Apocalypse Now\u003c/em> or the illicit thrill of seeing the White House get obliterated in \u003cem>Independence Day\u003c/em> — before Sept. 11, of course. Quite clearly, it’s this joy in destruction that helped make \u003cem>Godzilla\u003c/em> influential, especially in Hollywood, which over the past half-century has fed the worldwide audience’s appetite for images of spectacular violence.\u003c/p>\n\u003cp>That said, \u003cem>Godzilla\u003c/em>‘s real strength lies not in its effects — impressive for the time — but in its underlying emotional and cultural seriousness. It’s not simply that the music is often doleful rather than exciting or that we see doomed children set off Geiger counters. The movie has a gravity that comes from being created in a Japan that knew what it was to have children die from radiation poisoning and to see its capital city in flames. Both drawn to and terrified of the monster’s power, the movie is steeped in Japan’s traumatic historical experience. It has weight. It \u003cem>means\u003c/em> something.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em>‘s resonance is also inseparable from something else that once defined the best monster movies — a sense of compassion for the monster. Boris Karloff’s Frankenstein may have been scary, but we also felt his frailty and fear at being hunted. King Kong was dangerous, sure, but his eyes were charged with almost human feeling when he gazed at Fay Wray. The same is true of Godzilla, who starts out wreaking havoc but, by the film’s end, takes on a melancholy, sad-faced grandeur.\u003c/p>\n\u003cp>These days, our pop culture doesn’t encourage such identification. Ever since \u003cem>Jaws\u003c/em> and \u003cem>Alien\u003c/em> and \u003cem>Predator\u003c/em>, whose creatures are ruthless murder machines, our monsters have increasingly become soulless things to be destroyed. Consider today’s favorite monster, the zombie. Although zombies could hardly seem more human — heck, they just \u003cem>were\u003c/em> human — the walking dead have no individuality and run in packs. They basically exist to have their heads shot off in movies and TV shows that resemble video games.\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em> is not remotely like this. In Jim Shepard’s wonderful short story “Gojira, King of the Monsters” — part of his collection titled \u003cem>You Think That’s Bad\u003c/em> — Shepard offers a fictionalized account of the making of the movie. At one point, Shepard has director Ishiro Honda explain why the vanquishing of Godzilla feels so sad, and his words sum up brilliantly what gives Godzilla its strange power. “By the time the movie ends,” Honda says, “[Godzilla] is like a hero whose departure we regret. It’s like part of us leaving. That’s what makes it so hard. The monster the child knows best is the monster he feels himself to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Movie+Monsters%2C+Monster+Movies+And+Why+%27Godzilla%27+Endures&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003ci>John Powers is film and TV critic for Vogue and vogue.com.\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been hundreds of monster movies over the years, but only a handful of enduringly great movie \u003cem>monsters\u003c/em>. Of those, only two were created for the screen: King Kong, the giant ape atop the Empire State Building, and his Japanese heir, Godzilla, the city-flattening sea monster who’s a genuinely terrific pop icon. He not only stars in movies — Hollywood is bringing out a new \u003cem>Godzilla\u003c/em> on May 16 — but he’s even played basketball with Charles Barkley in a commercial for Nike.\u003c/p>\n\u003cp>It’s been six decades since \u003cem>Godzilla\u003c/em> first hit the screen, and to celebrate the big guy’s birthday, Rialto Pictures is releasing Ishiro Honda’s 1954 original — in a restored, 60th-anniversary edition — in theaters. I’ve seen \u003cem>Godzilla\u003c/em> many times since I was a kid, but watching it again, I was struck that it might be the best single film about the terrors of the nuclear age.\u003c/p>\n\u003cp>I suspect you know the plot. It begins when American H-bomb tests in the Pacific disturb the watery environment that’s the home of Gojira, as the monster is called in Japanese. After sinking assorted ships, this enormous beast winds up in Tokyo, where he stomps on buildings, flosses with power lines and blasts citizens with his radioactive bad breath. When the army is unable to stop him, the only hope is a new invention called the Oxygen Destroyer. But its idealistic creator is reluctant to reveal it for fear it will become a weapon — just look at the destruction that followed from splitting the atom.\u003c/p>\n\u003cp>Yet even as the inventor says this, the movie itself is offering us the seductive spectacle of violent ruin. And make no mistake: Destruction is great to look at. There’s an amoral pleasure to be had in watching Godzilla reduce Tokyo to fiery rubble, rather like the beauty of seeing those napalmed palm trees flare like matches in \u003cem>Apocalypse Now\u003c/em> or the illicit thrill of seeing the White House get obliterated in \u003cem>Independence Day\u003c/em> — before Sept. 11, of course. Quite clearly, it’s this joy in destruction that helped make \u003cem>Godzilla\u003c/em> influential, especially in Hollywood, which over the past half-century has fed the worldwide audience’s appetite for images of spectacular violence.\u003c/p>\n\u003cp>That said, \u003cem>Godzilla\u003c/em>‘s real strength lies not in its effects — impressive for the time — but in its underlying emotional and cultural seriousness. It’s not simply that the music is often doleful rather than exciting or that we see doomed children set off Geiger counters. The movie has a gravity that comes from being created in a Japan that knew what it was to have children die from radiation poisoning and to see its capital city in flames. Both drawn to and terrified of the monster’s power, the movie is steeped in Japan’s traumatic historical experience. It has weight. It \u003cem>means\u003c/em> something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em>‘s resonance is also inseparable from something else that once defined the best monster movies — a sense of compassion for the monster. Boris Karloff’s Frankenstein may have been scary, but we also felt his frailty and fear at being hunted. King Kong was dangerous, sure, but his eyes were charged with almost human feeling when he gazed at Fay Wray. The same is true of Godzilla, who starts out wreaking havoc but, by the film’s end, takes on a melancholy, sad-faced grandeur.\u003c/p>\n\u003cp>These days, our pop culture doesn’t encourage such identification. Ever since \u003cem>Jaws\u003c/em> and \u003cem>Alien\u003c/em> and \u003cem>Predator\u003c/em>, whose creatures are ruthless murder machines, our monsters have increasingly become soulless things to be destroyed. Consider today’s favorite monster, the zombie. Although zombies could hardly seem more human — heck, they just \u003cem>were\u003c/em> human — the walking dead have no individuality and run in packs. They basically exist to have their heads shot off in movies and TV shows that resemble video games.\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em> is not remotely like this. In Jim Shepard’s wonderful short story “Gojira, King of the Monsters” — part of his collection titled \u003cem>You Think That’s Bad\u003c/em> — Shepard offers a fictionalized account of the making of the movie. At one point, Shepard has director Ishiro Honda explain why the vanquishing of Godzilla feels so sad, and his words sum up brilliantly what gives Godzilla its strange power. “By the time the movie ends,” Honda says, “[Godzilla] is like a hero whose departure we regret. It’s like part of us leaving. That’s what makes it so hard. The monster the child knows best is the monster he feels himself to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Movie+Monsters%2C+Monster+Movies+And+Why+%27Godzilla%27+Endures&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003ci>John Powers is film and TV critic for Vogue and vogue.com.\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a great movie to be found in \u003cem>The Amazing Spider-Man 2\u003c/em>, but it’s not about superheroes, supervillains or impending urban calamities. It’s a deeply felt and hugely winning romantic tragi-comedy about a pair of recent high school grads who are perfect for each other in every way, but just can’t ever seem to get their timing right.\u003c/p>\n\u003cp>As Peter Parker and Gwen Stacy, Andrew Garfield and Emma Stone don’t just have chemistry on screen. They’ve got a rare Hepburn-and-Tracy-esque naturalism that flits from awkwardness to ease to unquestioned devotion in the space of a few shared glances. They don’t just have spark, they have a buzzing, crackling electricity with power enough to light the New York City skyline.\u003c/p>\n\u003cp>It’s a pity, then — both for Peter and Gwen, and for the movie — that they keep getting interrupted by Electro (Jamie Foxx), a buzzing, crackling, energy-sucking villain with enough power to \u003cem>darken\u003c/em> the New York City skyline. Not to mention Harry Osborn/Green Goblin (Dane DeHaan), who also shows up to cross these lovers’ stars some more, and Rhino (an utterly wasted Paul Giamatti), who appears as an afterthought. Because what superhero movie doesn’t benefit from an extra villain or three? (Answer: most of them.)\u003c/p>\n\u003cp>That Garfield and Stone are the best parts of the movie should come as no surprise: They were the anchor that saved director Marc Webb’s 2012 Spidey franchise reset from complete irrelevance as well. But while they’re perhaps even more of a pleasure to watch on screen this time around, the rest of the film gets bogged down in too many villains, too many origin stories and too many minutes of running time.\u003c/p>\n\u003cp>It’s those origins that are particularly maddening, since one of the pleasures of getting past the first installment of any superhero franchise is being able to dispense with the now-familiar expository notes of the hero’s creation. But \u003cem>The Amazing Spider-Man 2\u003c/em> spends inordinate amounts of time setting up its villains (and even backtracks into the past to reveal even more details of Spider-Man’s origin), only to dispatch them speedily in an overstuffed third act, as if Webb suddenly realized he’d set up too much story to resolve even in 2 1/2 hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, the movie never seems to care much about the conflict between Peter and his foes. Ostensibly, the big set piece is the fight with Electro, a former electrical engineer, stereotypically nerdy and meek, who is trying to turn off the lights to the city and finally get people to pay attention to him. (All of which could have been avoided if only his co-workers had just bought the poor guy a birthday cake — he’s basically \u003cem>Office Space\u003c/em>‘s Milton, except he’s looking to take down more than just his office building.)\u003c/p>\n\u003cp>But Electro is a one-dimensional big bad, and is really only here to help facilitate Harry’s transition to the Green Goblin. And the Goblin’s brief appearance is really only there to set up the climax of the Peter and Gwen story — and to set up the next film. Rhino is even more of a throwaway, a device to help Spidey get his groove back after Webb tries to replicate much of the plot of Sam Raimi’s 2004 \u003cem>Spider-Man 2\u003c/em> in the space of a short montage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something admirable in what seems to be Webb’s intent here, to make a costumed crusader flick that’s more about the people than the spectacle. The small moments, the physical comedy, Spidey’s constant wisecracking — these things are all charming, but they’re counterbalanced by stock summer blockbuster elements that Webb never seems interested in. What we get is a glimpse of how good Andrew Garfield and Emma Stone might be in a snappy, witty, old-fashioned romantic comedy — if only all those pesky scientifically engineered mutants would stop intruding. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Such+A+Lovely+Couple%2C+If+Only+The+Supervillains+Would+Leave+Them+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a great movie to be found in \u003cem>The Amazing Spider-Man 2\u003c/em>, but it’s not about superheroes, supervillains or impending urban calamities. It’s a deeply felt and hugely winning romantic tragi-comedy about a pair of recent high school grads who are perfect for each other in every way, but just can’t ever seem to get their timing right.\u003c/p>\n\u003cp>As Peter Parker and Gwen Stacy, Andrew Garfield and Emma Stone don’t just have chemistry on screen. They’ve got a rare Hepburn-and-Tracy-esque naturalism that flits from awkwardness to ease to unquestioned devotion in the space of a few shared glances. They don’t just have spark, they have a buzzing, crackling electricity with power enough to light the New York City skyline.\u003c/p>\n\u003cp>It’s a pity, then — both for Peter and Gwen, and for the movie — that they keep getting interrupted by Electro (Jamie Foxx), a buzzing, crackling, energy-sucking villain with enough power to \u003cem>darken\u003c/em> the New York City skyline. Not to mention Harry Osborn/Green Goblin (Dane DeHaan), who also shows up to cross these lovers’ stars some more, and Rhino (an utterly wasted Paul Giamatti), who appears as an afterthought. Because what superhero movie doesn’t benefit from an extra villain or three? (Answer: most of them.)\u003c/p>\n\u003cp>That Garfield and Stone are the best parts of the movie should come as no surprise: They were the anchor that saved director Marc Webb’s 2012 Spidey franchise reset from complete irrelevance as well. But while they’re perhaps even more of a pleasure to watch on screen this time around, the rest of the film gets bogged down in too many villains, too many origin stories and too many minutes of running time.\u003c/p>\n\u003cp>It’s those origins that are particularly maddening, since one of the pleasures of getting past the first installment of any superhero franchise is being able to dispense with the now-familiar expository notes of the hero’s creation. But \u003cem>The Amazing Spider-Man 2\u003c/em> spends inordinate amounts of time setting up its villains (and even backtracks into the past to reveal even more details of Spider-Man’s origin), only to dispatch them speedily in an overstuffed third act, as if Webb suddenly realized he’d set up too much story to resolve even in 2 1/2 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, the movie never seems to care much about the conflict between Peter and his foes. Ostensibly, the big set piece is the fight with Electro, a former electrical engineer, stereotypically nerdy and meek, who is trying to turn off the lights to the city and finally get people to pay attention to him. (All of which could have been avoided if only his co-workers had just bought the poor guy a birthday cake — he’s basically \u003cem>Office Space\u003c/em>‘s Milton, except he’s looking to take down more than just his office building.)\u003c/p>\n\u003cp>But Electro is a one-dimensional big bad, and is really only here to help facilitate Harry’s transition to the Green Goblin. And the Goblin’s brief appearance is really only there to set up the climax of the Peter and Gwen story — and to set up the next film. Rhino is even more of a throwaway, a device to help Spidey get his groove back after Webb tries to replicate much of the plot of Sam Raimi’s 2004 \u003cem>Spider-Man 2\u003c/em> in the space of a short montage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something admirable in what seems to be Webb’s intent here, to make a costumed crusader flick that’s more about the people than the spectacle. The small moments, the physical comedy, Spidey’s constant wisecracking — these things are all charming, but they’re counterbalanced by stock summer blockbuster elements that Webb never seems interested in. What we get is a glimpse of how good Andrew Garfield and Emma Stone might be in a snappy, witty, old-fashioned romantic comedy — if only all those pesky scientifically engineered mutants would stop intruding. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Such+A+Lovely+Couple%2C+If+Only+The+Supervillains+Would+Leave+Them+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British actor Bob Hoskins died last night of pneumonia at 71. He’ll certainly be remembered for starring with cartoon characters in \u003cem>Who Framed Roger Rabbit\u003c/em> — but that was just one of many films in which he played tough guys with soft hearts.\u003c/p>\n\u003cp>Short, stocky, dyslexic, balding, and with a cockney accent thick enough to spread on toast, Hoskins was hardly conventional leading man material. But he sure got to play opposite some gorgeous co-stars — Kathleen Turner’s Jessica Rabbit, of course, but also Cher in \u003cem>Mermaids \u003c/em>and Michelle Pfeiffer in \u003cem>Sweet Liberty;\u003c/em> and in \u003cem>Mona Lisa\u003c/em>, Cecily Tyson’s daughter Cathy played the call girl he chauffeured for, fell in love with and wanted to protect.\u003c/p>\n\u003cp>Hoskins played a mostly passive character in \u003cem>Mona Lisa\u003c/em> — not his usual thing, which may be why the role got him his only Oscar nomination. His usual thing was more blustery — from real-life figures like J. Edgar Hoover, Winston Churchill, Benito Mussolini and Nikita Khrushchev to gangsters and detectives, like the one who had to hold his own opposite an animated rabbit.\u003c/p>\n\u003cp>Hoskins was hired for \u003cem>Who Framed Roger Rabbit\u003c/em> because the filmmakers knew that he’d keep the story grounded, something the actor told interviewers he did in a decidedly ungrounded way — basically learning to “hallucinate” his costars.\u003c/p>\n\u003cp>Hoskins got his first acting gig, at 26, by accident: He went with a friend to an audition. just to keep him company, got a script shoved into his hand by someone who said “you’re next,” and decided to give it a shot. He ended up getting the lead, with his friend as his understudy. At which point he also started getting terrible advice, as he told WHYY’s \u003cem>Fresh Air\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started,” Hoskins said, “they said, you know, you’ve got to take elocution lessons, deportment classes, you gotta learn to fence. Wait a minute, hang on: I’m going to learn to talk like I don’t, be like I’m not, walk like I don’t — where am I in the middle of this? And so I didn’t take any lessons at all.”\u003c/p>\n\u003cp>Which didn’t keep him from getting parts, at first onstage, and then on TV, including his big break as a frustrated sheet-music salesman in \u003cem>Pennies from Heaven\u003c/em> — a frustrated but imaginative salesman, whose frustrations keep erupting into song\u003c/p>\n\u003cp>Hoskins’ big-screen career didn’t take off until casting directors decided he was a sort of British Edward G. Robinson — as the gangster in \u003cem>The Long Good Friday,\u003c/em> for instance, who made the mistake of ticking off the American Mafia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After that, he alternated between big Hollywood movies and — more and more — smaller independent films. He announced his retirement two years ago, and also his diagnosis with Parkinson’s. But by then, the performance career that began as a fluke had seen Bob Hoskins growl and bluster his way through more than 100 roles onscreen — indelibly, pretty much every time. \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=Bob+Hoskins%3A+A+Specialist+In+Tough+Guys+With+Soft+Hearts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Bob Hoskins died last night of pneumonia at 71. He’ll certainly be remembered for starring with cartoon characters in \u003cem>Who Framed Roger Rabbit\u003c/em> — but that was just one of many films in which he played tough guys with soft hearts.\u003c/p>\n\u003cp>Short, stocky, dyslexic, balding, and with a cockney accent thick enough to spread on toast, Hoskins was hardly conventional leading man material. But he sure got to play opposite some gorgeous co-stars — Kathleen Turner’s Jessica Rabbit, of course, but also Cher in \u003cem>Mermaids \u003c/em>and Michelle Pfeiffer in \u003cem>Sweet Liberty;\u003c/em> and in \u003cem>Mona Lisa\u003c/em>, Cecily Tyson’s daughter Cathy played the call girl he chauffeured for, fell in love with and wanted to protect.\u003c/p>\n\u003cp>Hoskins played a mostly passive character in \u003cem>Mona Lisa\u003c/em> — not his usual thing, which may be why the role got him his only Oscar nomination. His usual thing was more blustery — from real-life figures like J. Edgar Hoover, Winston Churchill, Benito Mussolini and Nikita Khrushchev to gangsters and detectives, like the one who had to hold his own opposite an animated rabbit.\u003c/p>\n\u003cp>Hoskins was hired for \u003cem>Who Framed Roger Rabbit\u003c/em> because the filmmakers knew that he’d keep the story grounded, something the actor told interviewers he did in a decidedly ungrounded way — basically learning to “hallucinate” his costars.\u003c/p>\n\u003cp>Hoskins got his first acting gig, at 26, by accident: He went with a friend to an audition. just to keep him company, got a script shoved into his hand by someone who said “you’re next,” and decided to give it a shot. He ended up getting the lead, with his friend as his understudy. At which point he also started getting terrible advice, as he told WHYY’s \u003cem>Fresh Air\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I started,” Hoskins said, “they said, you know, you’ve got to take elocution lessons, deportment classes, you gotta learn to fence. Wait a minute, hang on: I’m going to learn to talk like I don’t, be like I’m not, walk like I don’t — where am I in the middle of this? And so I didn’t take any lessons at all.”\u003c/p>\n\u003cp>Which didn’t keep him from getting parts, at first onstage, and then on TV, including his big break as a frustrated sheet-music salesman in \u003cem>Pennies from Heaven\u003c/em> — a frustrated but imaginative salesman, whose frustrations keep erupting into song\u003c/p>\n\u003cp>Hoskins’ big-screen career didn’t take off until casting directors decided he was a sort of British Edward G. Robinson — as the gangster in \u003cem>The Long Good Friday,\u003c/em> for instance, who made the mistake of ticking off the American Mafia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After that, he alternated between big Hollywood movies and — more and more — smaller independent films. He announced his retirement two years ago, and also his diagnosis with Parkinson’s. But by then, the performance career that began as a fluke had seen Bob Hoskins growl and bluster his way through more than 100 roles onscreen — indelibly, pretty much every time. \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=Bob+Hoskins%3A+A+Specialist+In+Tough+Guys+With+Soft+Hearts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It is never not awkward to talk about a film after one of the stars has died. That’s perhaps never any more true than it is in the case of \u003cem>Brick Mansions\u003c/em>, one of the last films of Paul Walker. Walker died in November of last year after a career that included a lot of movies like this one: silly, hyper action thrillers that often included, as this one does, moments in which everybody in the theater chortled at their insane, cartoonish brutality.\u003c/p>\n\u003cp>There is no way to make there be anything elegiac about \u003cem>Brick Mansions\u003c/em>, or out of the experience of seeing it. To try to make it a celebration of life or to find in it any lessons whatsoever would be absurd and, in its way, disrespectful to the 50 percent serious (plus or minus one percent) way in which it’s made.\u003c/p>\n\u003cp>\u003cem>Brick Mansions\u003c/em> is a remake of the 2004 French film \u003cem>Banlieue 13\u003c/em>, which you can find for rent in the United States as \u003cem>District B13\u003c/em> — a film for which the dialogue is so relatively insignificant that they serve it up dubbed rather than subtitled. \u003cem>District B13\u003c/em> came from screenwriters Luc Besson and Bibi Naceri, who also wrote \u003cem>Brick Mansions\u003c/em>. What’s more, the original and this remake share a star: French actor and stunt coordinator David Belle, one of the originators of Parkour, a discipline that sends guys running through the streets, flipping and climbing walls for the benefit of, very often, YouTube.\u003c/p>\n\u003cp>In this version, Belle plays Lino, the honest man who happens to be the only person left who really cares about Brick Mansions, a Detroit housing project that’s been walled off by the police and left to rot. The place is run by Tremaine (RZA), who you know is the ringleader because at the police station, it says “RING LEADER” next to his picture. Lino takes some of Tremaine’s drugs and destroys them, Tremaine kidnaps Lino’s girlfriend, and Lino teams up with cop Damien — played by Paul Walker — who also wants to bring down Tremaine and save the girl.\u003c/p>\n\u003cp>Fighting ensues. Running ensues. Jumping ensues. There’s a bomb with a prominent readout. Back flips ensue. Bonking each other with props ensues. And at the end, there’s an intriguing little twist that’s intended to inject a little social commentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But mostly, it’s a fighting movie. If you’ve always wondered why more guys don’t beat each other with steering wheels, this is your movie! If you’ve always wondered how you could gruesomely kill someone from inside a cell, this is your movie! If you’ve always wondered how two smaller guys might defeat a huge guy, this is your movie!\u003c/p>\n\u003cp>There’s a sort of good-natured goofiness to \u003cem>Brick Mansions\u003c/em>, and particularly to how ill-equipped Walker really is to keep pace with Belle (who, himself, may be ill-equipped to keep pace with himself from ten years ago). There are a couple of nice references to the fact that Lino’s way of navigating Fake Detroit is pretty intimidating, even to a cop who earlier pulls off a rousingly entertaining unauthorized entry into a speeding car.\u003c/p>\n\u003cp>Parkour is \u003cem>really fun\u003c/em> to watch; that’s why YouTube likes it. The guys who do it are crazily, anti-gravitationally athletic, and it doesn’t need a lot of kinetic editing to look kinetic. It is kinetic already, and in the original \u003cem>District B13\u003c/em>, while there’s still more editing than it probably needs, the camera does sometimes pause long enough to watch Belle do his thing, which is why the people are there.\u003c/p>\n\u003cp>Of course, that was 2004. We are now in 2014, and chaos cinema — as a fine \u003ca href=\"http://blogs.indiewire.com/pressplay/video_essay_matthias_stork_calls_out_the_chaos_cinema\" target=\"_blank\" rel=\"noopener\">video essay\u003c/a> by Matthias Stork called it — is dominant. Post-Bourne, post-Michael-Bay, and, yes, post-six \u003cem>Fast-And-Furious\u003c/em> movies, action sequences are typically shot with such a manic camera that you can barely keep track of what’s happening. When all you’re missing out on is cars flipping and regular actors having a fight, it’s one thing. But when you’re missing out on David Belle doing Parkour, it’s \u003cem>hugely\u003c/em> frustrating, because — again — it’s the best reason to see the movie.\u003c/p>\n\u003cp>Furthermore, \u003cem>Brick Mansions\u003c/em> suffers from another weird tic of action directors and cinematographers, which is that weird, jumpy, sticky effect that I have long recognized but only recently came to know by the apt name “staccato shutter.” It’s the camera effect Steven Spielberg and cinematographer Janusz Kaminski used to get a sort of ultra-real look at the beginning of \u003cem>Saving Private Ryan\u003c/em>, and it’s also often associated with \u003cem>Gladiator\u003c/em>. It creates stuttery-looking action scenes, and \u003cem>Brick Mansions \u003c/em>uses it a \u003cem>lot\u003c/em>. Not only that, but they use a more extreme version of it than I can remember seeing in the past, so that you’re getting a very disorienting shutter effect \u003cem>combined with \u003c/em>the crazy-fast editing that’s disorienting already. (You can see it in \u003ca href=\"https://www.youtube.com/watch?v=gBevHl9Hvgs\" target=\"_blank\" rel=\"noopener\">this clip\u003c/a>. Spoiler alert: there’s punching.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And all of this has the effect of dampening the impact of what Belle is bringing to this movie that’s legitimately different from what you get in most action movies. It’s too bad, though the movie still has some enjoyably over the top sequences and some funny moments between Walker and Belle. It feels like it was fun to make. It feels like, despite being a remake, it was made with some zazz and with, at the least, some desire that it be a hoot to watch. And it is a hoot to watch, even if, to be honest, there’s little reason for it to exist. \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+Punching+Movie+That+Packs+A+Punch+For+People+Who+Like+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But mostly, it’s a fighting movie. If you’ve always wondered why more guys don’t beat each other with steering wheels, this is your movie! If you’ve always wondered how you could gruesomely kill someone from inside a cell, this is your movie! If you’ve always wondered how two smaller guys might defeat a huge guy, this is your movie!\u003c/p>\n\u003cp>There’s a sort of good-natured goofiness to \u003cem>Brick Mansions\u003c/em>, and particularly to how ill-equipped Walker really is to keep pace with Belle (who, himself, may be ill-equipped to keep pace with himself from ten years ago). There are a couple of nice references to the fact that Lino’s way of navigating Fake Detroit is pretty intimidating, even to a cop who earlier pulls off a rousingly entertaining unauthorized entry into a speeding car.\u003c/p>\n\u003cp>Parkour is \u003cem>really fun\u003c/em> to watch; that’s why YouTube likes it. The guys who do it are crazily, anti-gravitationally athletic, and it doesn’t need a lot of kinetic editing to look kinetic. It is kinetic already, and in the original \u003cem>District B13\u003c/em>, while there’s still more editing than it probably needs, the camera does sometimes pause long enough to watch Belle do his thing, which is why the people are there.\u003c/p>\n\u003cp>Of course, that was 2004. We are now in 2014, and chaos cinema — as a fine \u003ca href=\"http://blogs.indiewire.com/pressplay/video_essay_matthias_stork_calls_out_the_chaos_cinema\" target=\"_blank\" rel=\"noopener\">video essay\u003c/a> by Matthias Stork called it — is dominant. Post-Bourne, post-Michael-Bay, and, yes, post-six \u003cem>Fast-And-Furious\u003c/em> movies, action sequences are typically shot with such a manic camera that you can barely keep track of what’s happening. When all you’re missing out on is cars flipping and regular actors having a fight, it’s one thing. But when you’re missing out on David Belle doing Parkour, it’s \u003cem>hugely\u003c/em> frustrating, because — again — it’s the best reason to see the movie.\u003c/p>\n\u003cp>Furthermore, \u003cem>Brick Mansions\u003c/em> suffers from another weird tic of action directors and cinematographers, which is that weird, jumpy, sticky effect that I have long recognized but only recently came to know by the apt name “staccato shutter.” It’s the camera effect Steven Spielberg and cinematographer Janusz Kaminski used to get a sort of ultra-real look at the beginning of \u003cem>Saving Private Ryan\u003c/em>, and it’s also often associated with \u003cem>Gladiator\u003c/em>. It creates stuttery-looking action scenes, and \u003cem>Brick Mansions \u003c/em>uses it a \u003cem>lot\u003c/em>. Not only that, but they use a more extreme version of it than I can remember seeing in the past, so that you’re getting a very disorienting shutter effect \u003cem>combined with \u003c/em>the crazy-fast editing that’s disorienting already. (You can see it in \u003ca href=\"https://www.youtube.com/watch?v=gBevHl9Hvgs\" target=\"_blank\" rel=\"noopener\">this clip\u003c/a>. Spoiler alert: there’s punching.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And all of this has the effect of dampening the impact of what Belle is bringing to this movie that’s legitimately different from what you get in most action movies. It’s too bad, though the movie still has some enjoyably over the top sequences and some funny moments between Walker and Belle. It feels like it was fun to make. It feels like, despite being a remake, it was made with some zazz and with, at the least, some desire that it be a hoot to watch. And it is a hoot to watch, even if, to be honest, there’s little reason for it to exist. \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+Punching+Movie+That+Packs+A+Punch+For+People+Who+Like+Punching&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a moment in \u003cem>The Other Woman \u003c/em>in which Leslie Mann and Cameron Diaz, playing a wife and her husband’s former mistress — now friends — fall into a hedge together. When they’re spotted, there’s a little bit of physical business that’s legitimately funny. If you can ignore the fact that the moments of this kind scattered through the film are decorating such a conceptually odious, stupid-to-the-bone enterprise, some of them may make you laugh.\u003c/p>\n\u003cp>But it may also occur to you just how bad — how \u003cem>bad\u003c/em> — it is that this is what we have to offer Mann and Diaz, who show themselves in these moments to be really able comic actresses: a story in which they play idiots with no interests of any kind except bickering over an utterly charmless man and then satisfying themselves that giving him explosive diarrhea and prominent nipples constitutes satisfying revenge for his having apparently robbed both of them of whatever souls and outside interests they once possessed.\u003c/p>\n\u003cp>It is the most grotesque pantomime of girl power, these beautiful women clinking glasses and ultimately trading what must be the weakest and least earned high-five in cinema history after executing a plot made possible by one of their daddies and done with considerably more panache in the painfully generic but at least mildly agreeable 1987 Michael J. Fox film \u003cem>The Secret of My Success\u003c/em>.\u003c/p>\n\u003cp>When we first meet them, both Kate (Mann) and Carly (Diaz) believe they are happy women, because they are both under the spell, such as it is, of Mark (Nikolaj Coster-Waldau), a man with all the inscrutable charisma of a tennis ball with a face drawn on it. Kate babbles at him and pees in front of him and doesn’t know she should groom her intimate areas, because that’s how wives are, right? Carly has wine with him at sundown and has lots of impetuous sex with him and talks to her secretary (Nicki Minaj) about him, because that’s how lady lawyer mistresses are, right?\u003c/p>\n\u003cp>(As a side note, while the need to advertise the themes of competitive pettiness is understandable, it seems like a dreadful missed opportunity that they didn’t call this \u003cem>Right, Fellas?: The Movie\u003c/em>. Someone in marketing was not keeping his [probably his] eye on the ball.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The women discover each other, at which point the cold one (the one who works in an office) is mercilessly stalked by the baffled, out-of-touch, nerdy, sexless one (the wife), until they become friends and eventually discover the young, large-breasted, dumb one — the other mistress, Amber, played by supermodel Kate Upton. At first, the two women over 40 naturally respond to the beautiful woman in her 20s by attempting to physically attack her out of jealousy (right, fellas?), but particularly once they learn that Amber is so stupid she doesn’t know which end of a pair of binoculars to look through, all three team up because they hate Mark, and what better animating principle is there for female friendship than being humiliated by the same man and having nothing better to do than feel miserable about it?\u003c/p>\n\u003cp>Now granted, all three of these women will ultimately need rescue from men in order to move on to the next phases of their lives — and again, they wouldn’t know what to do to Mark without advice they receive from Carly’s father (Don Johnson), which he delivers over a meal in a restaurant where Asian women give massages while you eat and feed you by hand. But don’t let that harsh your “sisters are doing it for themselves” mellow, ladies. HERE’S TO FRIENDSHIP!\u003c/p>\n\u003cp>It is a film that features a vomiting scene, a farting scene, a huge dog taking an extravagant, full-view dump on an apartment floor, the aforementioned diarrhea and nipple segments, a joke — the approach of which is visible from space — when a man is sexually humiliated by a transgender woman, and plenty of appreciative ogling of Kate Upton’s caboose.\u003c/p>\n\u003cp>It does not, however, manage to pass the Bechdel test, the laughably low bar that asks these questions: (1) Does a film have two women in it? (2) Do they talk to each other? (3) About something other than a man?\u003c/p>\n\u003cp>Yyyyyyyup. That’s right. \u003cem>The Other Woman \u003c/em>is 109 minutes long, and at no time do any of these women — including Carly and her secretary, who \u003cem>only know each other from work —\u003c/em> pause for a discussion, even for a moment, of anything other than a series of dudes: Mark, Kate’s brother, Carly’s father, the secretary’s husband, Carly’s other boyfriends. It is truly, no fooling, all they talk about for 109 minutes.\u003c/p>\n\u003cp>As has often been observed, there is nothing about the Bechdel test that is magical: plenty of good movies don’t pass it, and heaven knows plenty of terrible movies do. But the fact that a large studio like Twentieth Century Fox — not to mention an actual nonjoke director like Nick Cassavetes — can make an ode to female empowerment that at no time involves any women relating to each other about anything other than men?\u003c/p>\n\u003cp>It’s deliciously, almost poetically, perhaps polemically depressing. \u003cem>The Other Woman \u003c/em>is no charming film about lady buddies, the way they’d like it to be, but it is a gift-wrapped boon to critics who have been looking for an opportunity to explain the miserable circumstances in which genuinely talented comic actresses — even powerful ones, even proven ones, even ones doing the absolute best they possibly can — still very often find themselves.\u003c/p>\n\u003cp>There are isolated funny moments: That’s just the truth. Mann is a gloriously, unabashedly weird presence in the best way, always, and Diaz continues to be an often funny mix of glamorous and goofy, just like she’s been since she was a young actress-model herself. The audience I was with laughed at this movie sometimes. They looked at it — twice — and said, literally, “This [excrement] is funny.” And were it wrapped around a story that was 50 percent, 20 percent, even 10 percent less corrosive and gross, maybe that would be easier to endorse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know what you’re thinking: “Enough beating around the bush. Just tell us whether you liked it!” Consider this, which I will say in terms this movie would understand: If you were on an airplane, \u003cem>The Other Woman \u003c/em>might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag. This is what we’ve got, girls. This is what’s on offer. Use your judgment. \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+Other+Woman%27%3A+When+Terrible+Movies+Happen+To+Funny+Actresses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a moment in \u003cem>The Other Woman \u003c/em>in which Leslie Mann and Cameron Diaz, playing a wife and her husband’s former mistress — now friends — fall into a hedge together. When they’re spotted, there’s a little bit of physical business that’s legitimately funny. If you can ignore the fact that the moments of this kind scattered through the film are decorating such a conceptually odious, stupid-to-the-bone enterprise, some of them may make you laugh.\u003c/p>\n\u003cp>But it may also occur to you just how bad — how \u003cem>bad\u003c/em> — it is that this is what we have to offer Mann and Diaz, who show themselves in these moments to be really able comic actresses: a story in which they play idiots with no interests of any kind except bickering over an utterly charmless man and then satisfying themselves that giving him explosive diarrhea and prominent nipples constitutes satisfying revenge for his having apparently robbed both of them of whatever souls and outside interests they once possessed.\u003c/p>\n\u003cp>It is the most grotesque pantomime of girl power, these beautiful women clinking glasses and ultimately trading what must be the weakest and least earned high-five in cinema history after executing a plot made possible by one of their daddies and done with considerably more panache in the painfully generic but at least mildly agreeable 1987 Michael J. Fox film \u003cem>The Secret of My Success\u003c/em>.\u003c/p>\n\u003cp>When we first meet them, both Kate (Mann) and Carly (Diaz) believe they are happy women, because they are both under the spell, such as it is, of Mark (Nikolaj Coster-Waldau), a man with all the inscrutable charisma of a tennis ball with a face drawn on it. Kate babbles at him and pees in front of him and doesn’t know she should groom her intimate areas, because that’s how wives are, right? Carly has wine with him at sundown and has lots of impetuous sex with him and talks to her secretary (Nicki Minaj) about him, because that’s how lady lawyer mistresses are, right?\u003c/p>\n\u003cp>(As a side note, while the need to advertise the themes of competitive pettiness is understandable, it seems like a dreadful missed opportunity that they didn’t call this \u003cem>Right, Fellas?: The Movie\u003c/em>. Someone in marketing was not keeping his [probably his] eye on the ball.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The women discover each other, at which point the cold one (the one who works in an office) is mercilessly stalked by the baffled, out-of-touch, nerdy, sexless one (the wife), until they become friends and eventually discover the young, large-breasted, dumb one — the other mistress, Amber, played by supermodel Kate Upton. At first, the two women over 40 naturally respond to the beautiful woman in her 20s by attempting to physically attack her out of jealousy (right, fellas?), but particularly once they learn that Amber is so stupid she doesn’t know which end of a pair of binoculars to look through, all three team up because they hate Mark, and what better animating principle is there for female friendship than being humiliated by the same man and having nothing better to do than feel miserable about it?\u003c/p>\n\u003cp>Now granted, all three of these women will ultimately need rescue from men in order to move on to the next phases of their lives — and again, they wouldn’t know what to do to Mark without advice they receive from Carly’s father (Don Johnson), which he delivers over a meal in a restaurant where Asian women give massages while you eat and feed you by hand. But don’t let that harsh your “sisters are doing it for themselves” mellow, ladies. HERE’S TO FRIENDSHIP!\u003c/p>\n\u003cp>It is a film that features a vomiting scene, a farting scene, a huge dog taking an extravagant, full-view dump on an apartment floor, the aforementioned diarrhea and nipple segments, a joke — the approach of which is visible from space — when a man is sexually humiliated by a transgender woman, and plenty of appreciative ogling of Kate Upton’s caboose.\u003c/p>\n\u003cp>It does not, however, manage to pass the Bechdel test, the laughably low bar that asks these questions: (1) Does a film have two women in it? (2) Do they talk to each other? (3) About something other than a man?\u003c/p>\n\u003cp>Yyyyyyyup. That’s right. \u003cem>The Other Woman \u003c/em>is 109 minutes long, and at no time do any of these women — including Carly and her secretary, who \u003cem>only know each other from work —\u003c/em> pause for a discussion, even for a moment, of anything other than a series of dudes: Mark, Kate’s brother, Carly’s father, the secretary’s husband, Carly’s other boyfriends. It is truly, no fooling, all they talk about for 109 minutes.\u003c/p>\n\u003cp>As has often been observed, there is nothing about the Bechdel test that is magical: plenty of good movies don’t pass it, and heaven knows plenty of terrible movies do. But the fact that a large studio like Twentieth Century Fox — not to mention an actual nonjoke director like Nick Cassavetes — can make an ode to female empowerment that at no time involves any women relating to each other about anything other than men?\u003c/p>\n\u003cp>It’s deliciously, almost poetically, perhaps polemically depressing. \u003cem>The Other Woman \u003c/em>is no charming film about lady buddies, the way they’d like it to be, but it is a gift-wrapped boon to critics who have been looking for an opportunity to explain the miserable circumstances in which genuinely talented comic actresses — even powerful ones, even proven ones, even ones doing the absolute best they possibly can — still very often find themselves.\u003c/p>\n\u003cp>There are isolated funny moments: That’s just the truth. Mann is a gloriously, unabashedly weird presence in the best way, always, and Diaz continues to be an often funny mix of glamorous and goofy, just like she’s been since she was a young actress-model herself. The audience I was with laughed at this movie sometimes. They looked at it — twice — and said, literally, “This [excrement] is funny.” And were it wrapped around a story that was 50 percent, 20 percent, even 10 percent less corrosive and gross, maybe that would be easier to endorse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I know what you’re thinking: “Enough beating around the bush. Just tell us whether you liked it!” Consider this, which I will say in terms this movie would understand: If you were on an airplane, \u003cem>The Other Woman \u003c/em>might not be preferable to simply staring into your empty airsick bag, but it has enough nicely executed physical comedy that in the event you become ill, it is definitely preferable to staring into your occupied airsick bag. This is what we’ve got, girls. This is what’s on offer. Use your judgment. \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+Other+Woman%27%3A+When+Terrible+Movies+Happen+To+Funny+Actresses&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Transcendence\u003c/em> seems like the perfect film for Wally Pfister to kick off his career as a director. Pfister emerged as one of the best cinematographers in the business through his collaborations with Christopher Nolan (which also won him an Oscar, for Inception), and one of the hallmarks of that collaboration has been their dogged commitment to shooting on film rather than digitally, even as the industry has rapidly abandoned the 20th century technology. With \u003cem>Transcendence\u003c/em>, a science-fiction tale about an artificial digital intelligence putting our old-fashioned analog intelligence at risk of eradication, Pfister gets to play out that philosophical battle at a level with life-or-death stakes.\u003c/p>\n\u003cp>He establishes Will Caster (Johnny Depp) as a man with feet on both sides of that divide: He’s the world’s leading researcher in artificial intelligence technology, a man whose life is devoted to creating consciousness out of circuit boards, but his sanctuary at home is a lush green garden where he listens to old LPs on a record player.\u003c/p>\n\u003cp>http://youtu.be/VCTen3-B8GU\u003c/p>\n\u003cp>Caster fits neatly into sci-fi archetype as a scientist interested in the noble pursuit of pure knowledge — it’s how that knowledge is used by others that winds up becoming a problem. As he says at one speaking engagement, it’s his wife Evelyn (Rebecca Hall) who wants to change the world; he just wants to understand it.\u003c/p>\n\u003cp>Not everyone views his intentions as so honorable, and when an organization known as RIFT (Revolutionary Independence from Technology), takes out most of his colleagues in a coordinated attack and leaves him with one month to live, it’s Evelyn who suggests using his AI technology to allow the contents of his mind to live on after his body has died. Is the technology ready to house the fullness of a human mind? Their friend and technological ethicist Max (Paul Bettany) raises some cautionary objections, but Evelyn insists. What could really go wrong with such good intentions?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plenty, as it turns out. As Caster’s consciousness and processing power grows, so does its malevolent danger, and the story begins to draw on a variety of deadly sci-fi influences, from \u003cem>2001: A Space Odyssey\u003c/em> (Depp particularly seems to be consciously channeling HAL’s creepy placidity once he is reborn into ones and zeros) to \u003cem>Invasion of the Body Snatchers\u003c/em>. But as it turns out, the more relevant (and gentler) touchstone is more recent: Not unlike last year’s \u003cem>Her\u003c/em>, what the film really hinges on is the tricky notion of love between flesh and blood humans and sentient machines.\u003c/p>\n\u003cp>All of this feels not unlike Christopher Nolan’s own films: grand, gorgeous works filled with stunning imagery that are as full of Big Ideas as they are Big Entertainment. Regular Nolan cast members like Cillian Murphy and Morgan Freeman (as an FBI agent and another tech researcher, respectively) bolster that notion. But what’s harder to borrow is the director’s gift for telling those big stories so effortlessly, and it’s here where Pfister and \u003cem>Transcendence\u003c/em> stumble hard.\u003c/p>\n\u003cp>\u003cem>Transcendence\u003c/em> has hints of a richly complex story, but too often feels content just dumping the pieces of its puzzle out on the table without doing much assembly – or even making sure all the pieces are even there. Eliding certain details and allowing the imagination of the viewer to fill in blanks is essential to any fiction, science especially, but too often Pfister’s choices gloss over things like essential character development or even basic cues for the passage of time – the massive underground compound that eventually houses Will’s mind feels as though it blinks into existence in a matter of days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without real engagement with the characters, no matter how pretty the movie is (and it’s very, very pretty), it can’t help but feel hollow, and more than a little dull. So while the subject matter might be well matched to Pfister’s particular interests, it’s hard to get around the fact that no matter how much time he’s spent behind a camera, this is still his first time as director. Nolan started small, on films like \u003cem>Following\u003c/em> and \u003cem>Memento\u003c/em>, before trying his hand at anything remotely this ambitious. Pfister’s years spent developing a visual style may be visible right up there on the screen, but so too are the years he hasn’t yet spent controlling all aspects of the storytelling process. Evelyn isn’t the only one here who tries reaching too high, too fast. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Ambitious+Drive+To+Do+Too+Much+Too+Fast%2C+On+Screen+And+Off&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Transcendence\u003c/em> is the directorial debut of Wally Pfister, a celebrated cinematographer. While his visual sophistication is evident, so is his limited experience with storytelling.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Transcendence\u003c/em> seems like the perfect film for Wally Pfister to kick off his career as a director. Pfister emerged as one of the best cinematographers in the business through his collaborations with Christopher Nolan (which also won him an Oscar, for Inception), and one of the hallmarks of that collaboration has been their dogged commitment to shooting on film rather than digitally, even as the industry has rapidly abandoned the 20th century technology. With \u003cem>Transcendence\u003c/em>, a science-fiction tale about an artificial digital intelligence putting our old-fashioned analog intelligence at risk of eradication, Pfister gets to play out that philosophical battle at a level with life-or-death stakes.\u003c/p>\n\u003cp>He establishes Will Caster (Johnny Depp) as a man with feet on both sides of that divide: He’s the world’s leading researcher in artificial intelligence technology, a man whose life is devoted to creating consciousness out of circuit boards, but his sanctuary at home is a lush green garden where he listens to old LPs on a record player.\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/VCTen3-B8GU'\n title='//www.youtube.com/embed/VCTen3-B8GU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Caster fits neatly into sci-fi archetype as a scientist interested in the noble pursuit of pure knowledge — it’s how that knowledge is used by others that winds up becoming a problem. As he says at one speaking engagement, it’s his wife Evelyn (Rebecca Hall) who wants to change the world; he just wants to understand it.\u003c/p>\n\u003cp>Not everyone views his intentions as so honorable, and when an organization known as RIFT (Revolutionary Independence from Technology), takes out most of his colleagues in a coordinated attack and leaves him with one month to live, it’s Evelyn who suggests using his AI technology to allow the contents of his mind to live on after his body has died. Is the technology ready to house the fullness of a human mind? Their friend and technological ethicist Max (Paul Bettany) raises some cautionary objections, but Evelyn insists. What could really go wrong with such good intentions?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plenty, as it turns out. As Caster’s consciousness and processing power grows, so does its malevolent danger, and the story begins to draw on a variety of deadly sci-fi influences, from \u003cem>2001: A Space Odyssey\u003c/em> (Depp particularly seems to be consciously channeling HAL’s creepy placidity once he is reborn into ones and zeros) to \u003cem>Invasion of the Body Snatchers\u003c/em>. But as it turns out, the more relevant (and gentler) touchstone is more recent: Not unlike last year’s \u003cem>Her\u003c/em>, what the film really hinges on is the tricky notion of love between flesh and blood humans and sentient machines.\u003c/p>\n\u003cp>All of this feels not unlike Christopher Nolan’s own films: grand, gorgeous works filled with stunning imagery that are as full of Big Ideas as they are Big Entertainment. Regular Nolan cast members like Cillian Murphy and Morgan Freeman (as an FBI agent and another tech researcher, respectively) bolster that notion. But what’s harder to borrow is the director’s gift for telling those big stories so effortlessly, and it’s here where Pfister and \u003cem>Transcendence\u003c/em> stumble hard.\u003c/p>\n\u003cp>\u003cem>Transcendence\u003c/em> has hints of a richly complex story, but too often feels content just dumping the pieces of its puzzle out on the table without doing much assembly – or even making sure all the pieces are even there. Eliding certain details and allowing the imagination of the viewer to fill in blanks is essential to any fiction, science especially, but too often Pfister’s choices gloss over things like essential character development or even basic cues for the passage of time – the massive underground compound that eventually houses Will’s mind feels as though it blinks into existence in a matter of days.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Without real engagement with the characters, no matter how pretty the movie is (and it’s very, very pretty), it can’t help but feel hollow, and more than a little dull. So while the subject matter might be well matched to Pfister’s particular interests, it’s hard to get around the fact that no matter how much time he’s spent behind a camera, this is still his first time as director. Nolan started small, on films like \u003cem>Following\u003c/em> and \u003cem>Memento\u003c/em>, before trying his hand at anything remotely this ambitious. Pfister’s years spent developing a visual style may be visible right up there on the screen, but so too are the years he hasn’t yet spent controlling all aspects of the storytelling process. Evelyn isn’t the only one here who tries reaching too high, too fast. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Ambitious+Drive+To+Do+Too+Much+Too+Fast%2C+On+Screen+And+Off&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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"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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"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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"order": 16
},
"link": "/podcasts/rightnowish",
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