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"content": "\u003cp>If you’re only going to see one film about the Battle of Stalingrad — and there are many — \u003cem>Stalingrad \u003c/em>would be the wrong choice. Russian director Fedor Bondarchuk’s treatment of the World War II turning point is shallow and contrived, if sometimes impressively staged. The movie wins points, however, for sheer wackiness.\u003c/p>\n\u003cp>This is first film about Stalingrad, for example, to open with voiceover in Japanese. The completely unnecessary framing story is set in the Tohoku region just after it was pummeled by the 2011 earthquake and tsunami. Among the international rescue workers is a Russian who speaks German. Seeking to calm five German students trapped in a collapsed building, he tells them a reassuring tale. It’s about Russians behind enemy lines, trapped in a nearly collapsed building during what some reckon was the bloodiest military campaign in human history.\u003c/p>\n\u003cp>Cheered up yet, kids?\u003c/p>\n\u003cp>Cut to 1942, when Russians are sneaking across the Volga to strike German positions. To stop them, German Col. Peter Kahn (Thomas Kretschmann) manages to blow up a fuel dump, setting many of the attackers afire. In a deliriously impossible scene, blazing Russian soldiers continue their offensive, killing Germans as their own bodies char.\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=_Da3EgZUA0Y&w=640&h=360]\u003c/p>\n\u003cp>This brutal sequence is as sweeping as anything in \u003cem>Enemy at the Gates\u003c/em>, the 2001 English-language Stalingrad epic. But then the movie shifts to a more intimate (and affordable) scale. A few survivors of the onslaught take shelter in a bombed-out apartment house. For most of the rest of story, they hold their position against the much larger German contingent outside. Eventually, only five Russian fighters remain, each waiting for a chance to demonstrate his noble spirit of self-sacrifice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just one tenant has survived the fighting: Katya (Maria Smolnikova), who’s almost 19. To the Russian soldiers, she’s everything they’re fighting for — country, sisters, mothers, wives. Radio operator Sergey (Sergey Bondarchuk Jr.) is particularly taken with the girl. When not battling the Germans hand-to-hand in kung fu-style brawls, the men plan Katya’s birthday party.\u003c/p>\n\u003cp>To balance this sentimental tale, there’s a harsher one about another woman: Masha (Yana Studilina), who’s reluctantly under Kahn’s protection. Compared to his abominable commanding officer, the Colonel is almost a nice guy; he bristles at his fellow Germans’ brutality toward civilians, but intervenes to help only Masha, a blonde beauty who reminds him of his late wife. The fate of one of these women will ultimately be revealed on the movie’s concluding trip to Japan, which is just as disorienting as the first one.\u003c/p>\n\u003cp>This is the first Russian production to be presented in IMAX 3-D, technology that doesn’t add much to the film but does distinguish it from the 1989 Russian \u003cem>Stalingrad \u003c/em>(which starred Fedor Bondarchuk) and the 1993 German \u003cem>Stalingrad \u003c/em>(which starred Thomas Kretschmann).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spectacle, literally amplified by Angelo Badalamenti’s strident score, helped make Bondarchuk’s movie a hit not just in Russia but also in China. It faces much dicier prospects in the United States, whose filmgoers didn’t grow up on the heroic national legend of Stalingrad — and lately haven’t shown much taste for gory war sagas unless they feature aliens, superheroes or the undead. Indeed, for all of \u003cem>Stalingrad\u003c/em>‘s curious developments and bewildering gestures, the strangest thing about the movie may be that it’s even being released in the U.S.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Stalingrad%2C%27+Where+The+Fog+Of+War+Is+Plenty+Thick&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re only going to see one film about the Battle of Stalingrad — and there are many — \u003cem>Stalingrad \u003c/em>would be the wrong choice. Russian director Fedor Bondarchuk’s treatment of the World War II turning point is shallow and contrived, if sometimes impressively staged. The movie wins points, however, for sheer wackiness.\u003c/p>\n\u003cp>This is first film about Stalingrad, for example, to open with voiceover in Japanese. The completely unnecessary framing story is set in the Tohoku region just after it was pummeled by the 2011 earthquake and tsunami. Among the international rescue workers is a Russian who speaks German. Seeking to calm five German students trapped in a collapsed building, he tells them a reassuring tale. It’s about Russians behind enemy lines, trapped in a nearly collapsed building during what some reckon was the bloodiest military campaign in human history.\u003c/p>\n\u003cp>Cheered up yet, kids?\u003c/p>\n\u003cp>Cut to 1942, when Russians are sneaking across the Volga to strike German positions. To stop them, German Col. Peter Kahn (Thomas Kretschmann) manages to blow up a fuel dump, setting many of the attackers afire. In a deliriously impossible scene, blazing Russian soldiers continue their offensive, killing Germans as their own bodies char.\u003c/p>\n\u003cp style=\"text-align: center\">\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/_Da3EgZUA0Y'\n title='//www.youtube.com/embed/_Da3EgZUA0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This brutal sequence is as sweeping as anything in \u003cem>Enemy at the Gates\u003c/em>, the 2001 English-language Stalingrad epic. But then the movie shifts to a more intimate (and affordable) scale. A few survivors of the onslaught take shelter in a bombed-out apartment house. For most of the rest of story, they hold their position against the much larger German contingent outside. Eventually, only five Russian fighters remain, each waiting for a chance to demonstrate his noble spirit of self-sacrifice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just one tenant has survived the fighting: Katya (Maria Smolnikova), who’s almost 19. To the Russian soldiers, she’s everything they’re fighting for — country, sisters, mothers, wives. Radio operator Sergey (Sergey Bondarchuk Jr.) is particularly taken with the girl. When not battling the Germans hand-to-hand in kung fu-style brawls, the men plan Katya’s birthday party.\u003c/p>\n\u003cp>To balance this sentimental tale, there’s a harsher one about another woman: Masha (Yana Studilina), who’s reluctantly under Kahn’s protection. Compared to his abominable commanding officer, the Colonel is almost a nice guy; he bristles at his fellow Germans’ brutality toward civilians, but intervenes to help only Masha, a blonde beauty who reminds him of his late wife. The fate of one of these women will ultimately be revealed on the movie’s concluding trip to Japan, which is just as disorienting as the first one.\u003c/p>\n\u003cp>This is the first Russian production to be presented in IMAX 3-D, technology that doesn’t add much to the film but does distinguish it from the 1989 Russian \u003cem>Stalingrad \u003c/em>(which starred Fedor Bondarchuk) and the 1993 German \u003cem>Stalingrad \u003c/em>(which starred Thomas Kretschmann).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spectacle, literally amplified by Angelo Badalamenti’s strident score, helped make Bondarchuk’s movie a hit not just in Russia but also in China. It faces much dicier prospects in the United States, whose filmgoers didn’t grow up on the heroic national legend of Stalingrad — and lately haven’t shown much taste for gory war sagas unless they feature aliens, superheroes or the undead. Indeed, for all of \u003cem>Stalingrad\u003c/em>‘s curious developments and bewildering gestures, the strangest thing about the movie may be that it’s even being released in the U.S.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Stalingrad%2C%27+Where+The+Fog+Of+War+Is+Plenty+Thick&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>American art-house audiences are being offered an intriguing exercise in double vision over the next couple of weeks: two movies about Palestinian informants and their complicated relationships with Israel’s secret service, one directed by a Palestinian, the other by an Israeli. Their similarities turn out to be nearly as intriguing as their differences.\u003c/p>\n\u003cp>First to arrive — this weekend, in limited release — is the Palestinian Oscar nominee for foreign-language film, \u003cem>Omar,\u003c/em> made by celebrated director Hany Abu-Assad, whose 2005 drama \u003cem>Paradise Now\u003c/em> also dealt with Arab-Israeli tensions. Two weeks from now, first-time writer-director Yuval Adler will unveil his thriller \u003cem>Bethlehem,\u003c/em> which has taken home prizes from a number of European festivals.\u003c/p>\n\u003cp>Both films start with gunfire — Palestinian teenagers using a rural street sign for target practice in \u003cem>Bethlehem,\u003c/em> Israeli soldiers using the title character for target practice in \u003cem>Omar\u003c/em>. Actually, I’m being overly glib: Omar, who’s Palestinian and a baker by trade, is scaling the Israeli-built wall that bisects his community when he’s shot at. He’s a genuine target, not target practice.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=OPcvn4Mtglc\u003c/p>\n\u003cp>But the place — a literally biblical landscape pierced by gunfire — feels identical in the two films. So do their basic outlines. In each, a militant Palestinian youngster will be coerced into ratting out his friends to an Israeli secret service agent. In each, the young man’s relationships with his community, and with his agent, will become fraught and complicated. In each, the price of betrayal will be measured in blood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as the titles \u003cem>Omar\u003c/em> and \u003cem>Bethlehem\u003c/em> suggest, the films come at their stories differently. The Palestinian \u003cem>Omar\u003c/em> feels intimate, centering on its young baker (Adam Bakri) and his romance with a friend’s sister (Leem Lubany); it was she, Nadia, he was trying to visit on the other side of the wall. Only after establishing those characters, and how Shin Bet agent Rami (Waleed Zuaiter) comes between them, does the director expand the film’s focus to embrace their divided community.\u003c/p>\n\u003cp>The Israeli film takes the opposite course, concentrating initially on its titular town’s unraveling social fabric — its Palestinian community is run by officious politicos and overrun by Kalashnikov-toting thugs — and then delving into what that unraveling means for one troubled teen. Sanfur (Shadi Mar’i) has an older brother who’s a notorious terrorist, along with a Shin Bet handler (Tsahi Halevi) who has adopted an almost parental attitude toward him.\u003c/p>\n\u003cp>While the films are equally earnest, they are not equally accomplished. \u003cem>Bethlehem\u003c/em> qualifies as a promising debut for its first-time actors and director, but it’s slack at first, and the thriller tricks it uses to ratchet up the tension later — musical underscoring, careening vehicles, threatening crowds — keep it from sneaking past your defenses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> gets past those barriers mostly by being an effective nail-biter of a personal story, but also by creating a persuasive real-world milieu. It’s the sort of film that feels so authentic that even knowing it’s a fiction, the morning after seeing it, I found myself scanning headlines to see if there were any new developments. \u003cem>Omar\u003c/em> had me doing that — and had me, tragically, finding plenty of parallels in the real world from which it arises.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+Conflict%2C+One+Wall%2C+Two+Sides+Of+The+Arab-Israeli+World&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Bob Mondello reviews \u003cem>Omar\u003c/em> and\u003cem> Bethlehem,\u003c/em> two intriguingly similar films about the complicated relationships between Israeli secret service agents and their Palestinian informants.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>American art-house audiences are being offered an intriguing exercise in double vision over the next couple of weeks: two movies about Palestinian informants and their complicated relationships with Israel’s secret service, one directed by a Palestinian, the other by an Israeli. Their similarities turn out to be nearly as intriguing as their differences.\u003c/p>\n\u003cp>First to arrive — this weekend, in limited release — is the Palestinian Oscar nominee for foreign-language film, \u003cem>Omar,\u003c/em> made by celebrated director Hany Abu-Assad, whose 2005 drama \u003cem>Paradise Now\u003c/em> also dealt with Arab-Israeli tensions. Two weeks from now, first-time writer-director Yuval Adler will unveil his thriller \u003cem>Bethlehem,\u003c/em> which has taken home prizes from a number of European festivals.\u003c/p>\n\u003cp>Both films start with gunfire — Palestinian teenagers using a rural street sign for target practice in \u003cem>Bethlehem,\u003c/em> Israeli soldiers using the title character for target practice in \u003cem>Omar\u003c/em>. Actually, I’m being overly glib: Omar, who’s Palestinian and a baker by trade, is scaling the Israeli-built wall that bisects his community when he’s shot at. He’s a genuine target, not target practice.\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/OPcvn4Mtglc'\n title='//www.youtube.com/embed/OPcvn4Mtglc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the place — a literally biblical landscape pierced by gunfire — feels identical in the two films. So do their basic outlines. In each, a militant Palestinian youngster will be coerced into ratting out his friends to an Israeli secret service agent. In each, the young man’s relationships with his community, and with his agent, will become fraught and complicated. In each, the price of betrayal will be measured in blood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as the titles \u003cem>Omar\u003c/em> and \u003cem>Bethlehem\u003c/em> suggest, the films come at their stories differently. The Palestinian \u003cem>Omar\u003c/em> feels intimate, centering on its young baker (Adam Bakri) and his romance with a friend’s sister (Leem Lubany); it was she, Nadia, he was trying to visit on the other side of the wall. Only after establishing those characters, and how Shin Bet agent Rami (Waleed Zuaiter) comes between them, does the director expand the film’s focus to embrace their divided community.\u003c/p>\n\u003cp>The Israeli film takes the opposite course, concentrating initially on its titular town’s unraveling social fabric — its Palestinian community is run by officious politicos and overrun by Kalashnikov-toting thugs — and then delving into what that unraveling means for one troubled teen. Sanfur (Shadi Mar’i) has an older brother who’s a notorious terrorist, along with a Shin Bet handler (Tsahi Halevi) who has adopted an almost parental attitude toward him.\u003c/p>\n\u003cp>While the films are equally earnest, they are not equally accomplished. \u003cem>Bethlehem\u003c/em> qualifies as a promising debut for its first-time actors and director, but it’s slack at first, and the thriller tricks it uses to ratchet up the tension later — musical underscoring, careening vehicles, threatening crowds — keep it from sneaking past your defenses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> gets past those barriers mostly by being an effective nail-biter of a personal story, but also by creating a persuasive real-world milieu. It’s the sort of film that feels so authentic that even knowing it’s a fiction, the morning after seeing it, I found myself scanning headlines to see if there were any new developments. \u003cem>Omar\u003c/em> had me doing that — and had me, tragically, finding plenty of parallels in the real world from which it arises.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+Conflict%2C+One+Wall%2C+Two+Sides+Of+The+Arab-Israeli+World&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Pompeii': In Ancient Rome, A Hot 3-D Mess",
"headTitle": "‘Pompeii’: In Ancient Rome, A Hot 3-D Mess | KQED",
"content": "\u003cp>You can say this for director Paul W.S. Anderson: He gets the basic purpose of 3-D movies. While the current renaissance in cinematic stereoscopy is touted as a method for creating more “immersive” experiences for audiences, the list of movies that achieve that lofty goal can be counted on one hand: \u003cem>Gravity\u003c/em>, \u003cem>Hugo\u003c/em>, \u003cem>Life of Pi\u003c/em>. Most 3-D exists to bilk customers out of a few extra bucks.\u003c/p>\n\u003cp>But as it was conceived back in the mid-20th century, 3-D was all about kitschy spectacle, about giving an audience a cheap thrill by making them duck involuntarily in their seats. In that context, Anderson’s repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of \u003cem>Pompeii\u003c/em> — is firmly in the lovably trashy spirit of the ’50s drive-in.\u003c/p>\n\u003cp>Pity that beyond those pyroclastic missiles, Anderson seems to want us to see his film and its hackneyed romance — basically \u003cem>Titanic\u003c/em> with swords and sandals — as a serious-minded historical epic. If there were a hint of a sense of play or humor in the filmmaking, beyond a briefly amusing moment of comeuppance for a foppish slaveowner, \u003ci>Pompeii\u003c/i> might be a fun February diversion instead of a dull, eye-rolling slog.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=t6TRwfxDICM\u003c/p>\n\u003cp>Maybe it’s not all Anderson’s fault. The fact is that our expectations for this sort of thing have changed in recent years, thanks not least to \u003cem>Game of Thrones\u003c/em>. While HBO’s popular series is technically a fantasy, and not set in our world, it doesn’t look so different in many respects from Europe in the first century A.D. The show sets a high bar for depictions of romance and political machinations in an ancient world, as well as for pure visual grandeur. It’s a bar so far above the reach of the video-gamey digital backdrops of \u003cem>Pompeii\u003c/em> that it might as well be on top of Vesuvius.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Any hopes of dodging \u003cem>Game of Thrones\u003c/em> comparisons are dashed by the casting of Kit Harington — \u003cem>Thrones\u003c/em>‘ Jon Snow — as Milo, a prodigiously skilled Celtic gladiator with a long-simmering vendetta against Rome. While \u003cem>Game of Thrones\u003c/em> mostly effectively employs Harington’s knack for brow-furrowed brooding, \u003cem>Pompeii\u003c/em> looks to use his full range: that brooding \u003cem>and\u003c/em> his well-chiseled torso. (“Didn’t you see his muscles?” asks one character excitedly, early in the film. Yes. Yes, we did.)\u003c/p>\n\u003cp>As the fates and the screenwriters would have it, Milo arrives in Pompeii at the same time that Cassia (Emily Browning), the daughter of the local governor, is returning from a year in the imperial capital. After a standard rom-com meet cute, in which they find starry-eyed love over the corpse of a dead horse on the highway, she goes to her opulent villa to be petulant with her parents while he heads to the dungeons below the Pompeiian coliseum, where he’ll forge an unlikely friendship with a fellow gladiator (Adewale Akinnuoye-Agbaje).\u003c/p>\n\u003cp>Also arriving at the same time – fortuitous coincidence! — is the Roman Senator Corvis (Kiefer Sutherland), who 17 years earlier slaughtered Milo’s entire village and left our hero for dead. It’s a good thing this is history, as it would otherwise be pretty tough to believe that the cards would be set up with such unlikely perfection for Milo to find love, friendship, and vengeance all in one crazy Vulcanalia-festival weekend.\u003c/p>\n\u003cp>If I sound flippant, it’s only because \u003cem>Pompeii\u003c/em> invites so many unintended laughs, from the puppy-eyed romance of Milo and Cassia (which makes \u003cem>Twilight\u003c/em> look like \u003cem>Casablanca\u003c/em>) to the ridiculously implausible final chase, which is essentially \u003cem>Fast & Furious\u003c/em> on horseback. The lengths they go to in order to salvage a PG-13 rating — multiple slit throats result in almost no blood at all — make the whole thing seem like a pantomimed rehearsal. Meanwhile, the movie’s final image, which I won’t spoil here, caused an eruption of laughter at my screening that was louder than any response to most straight comedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only person in the entire cast who seems remotely aware of the ridiculousness of the whole thing is Sutherland, who chews scenery like a starving man handed a turkey leg. He certainly had more laughs making it than anyone will watching it; if only he’d let the rest of the cast and crew in on the joke.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Pompeii%27%3A+In+Ancient+Rome%2C+A+Hot+3-D+Mess&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You can say this for director Paul W.S. Anderson: He gets the basic purpose of 3-D movies. While the current renaissance in cinematic stereoscopy is touted as a method for creating more “immersive” experiences for audiences, the list of movies that achieve that lofty goal can be counted on one hand: \u003cem>Gravity\u003c/em>, \u003cem>Hugo\u003c/em>, \u003cem>Life of Pi\u003c/em>. Most 3-D exists to bilk customers out of a few extra bucks.\u003c/p>\n\u003cp>But as it was conceived back in the mid-20th century, 3-D was all about kitschy spectacle, about giving an audience a cheap thrill by making them duck involuntarily in their seats. In that context, Anderson’s repeated hurling of flaming volcanic projectiles directly at the screen — the dominant feature of the latter third of \u003cem>Pompeii\u003c/em> — is firmly in the lovably trashy spirit of the ’50s drive-in.\u003c/p>\n\u003cp>Pity that beyond those pyroclastic missiles, Anderson seems to want us to see his film and its hackneyed romance — basically \u003cem>Titanic\u003c/em> with swords and sandals — as a serious-minded historical epic. If there were a hint of a sense of play or humor in the filmmaking, beyond a briefly amusing moment of comeuppance for a foppish slaveowner, \u003ci>Pompeii\u003c/i> might be a fun February diversion instead of a dull, eye-rolling slog.\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/t6TRwfxDICM'\n title='//www.youtube.com/embed/t6TRwfxDICM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe it’s not all Anderson’s fault. The fact is that our expectations for this sort of thing have changed in recent years, thanks not least to \u003cem>Game of Thrones\u003c/em>. While HBO’s popular series is technically a fantasy, and not set in our world, it doesn’t look so different in many respects from Europe in the first century A.D. The show sets a high bar for depictions of romance and political machinations in an ancient world, as well as for pure visual grandeur. It’s a bar so far above the reach of the video-gamey digital backdrops of \u003cem>Pompeii\u003c/em> that it might as well be on top of Vesuvius.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Any hopes of dodging \u003cem>Game of Thrones\u003c/em> comparisons are dashed by the casting of Kit Harington — \u003cem>Thrones\u003c/em>‘ Jon Snow — as Milo, a prodigiously skilled Celtic gladiator with a long-simmering vendetta against Rome. While \u003cem>Game of Thrones\u003c/em> mostly effectively employs Harington’s knack for brow-furrowed brooding, \u003cem>Pompeii\u003c/em> looks to use his full range: that brooding \u003cem>and\u003c/em> his well-chiseled torso. (“Didn’t you see his muscles?” asks one character excitedly, early in the film. Yes. Yes, we did.)\u003c/p>\n\u003cp>As the fates and the screenwriters would have it, Milo arrives in Pompeii at the same time that Cassia (Emily Browning), the daughter of the local governor, is returning from a year in the imperial capital. After a standard rom-com meet cute, in which they find starry-eyed love over the corpse of a dead horse on the highway, she goes to her opulent villa to be petulant with her parents while he heads to the dungeons below the Pompeiian coliseum, where he’ll forge an unlikely friendship with a fellow gladiator (Adewale Akinnuoye-Agbaje).\u003c/p>\n\u003cp>Also arriving at the same time – fortuitous coincidence! — is the Roman Senator Corvis (Kiefer Sutherland), who 17 years earlier slaughtered Milo’s entire village and left our hero for dead. It’s a good thing this is history, as it would otherwise be pretty tough to believe that the cards would be set up with such unlikely perfection for Milo to find love, friendship, and vengeance all in one crazy Vulcanalia-festival weekend.\u003c/p>\n\u003cp>If I sound flippant, it’s only because \u003cem>Pompeii\u003c/em> invites so many unintended laughs, from the puppy-eyed romance of Milo and Cassia (which makes \u003cem>Twilight\u003c/em> look like \u003cem>Casablanca\u003c/em>) to the ridiculously implausible final chase, which is essentially \u003cem>Fast & Furious\u003c/em> on horseback. The lengths they go to in order to salvage a PG-13 rating — multiple slit throats result in almost no blood at all — make the whole thing seem like a pantomimed rehearsal. Meanwhile, the movie’s final image, which I won’t spoil here, caused an eruption of laughter at my screening that was louder than any response to most straight comedies.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The only person in the entire cast who seems remotely aware of the ridiculousness of the whole thing is Sutherland, who chews scenery like a starving man handed a turkey leg. He certainly had more laughs making it than anyone will watching it; if only he’d let the rest of the cast and crew in on the joke.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Pompeii%27%3A+In+Ancient+Rome%2C+A+Hot+3-D+Mess&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'RoboCop' Remake, As Mechanical As Its Cyborg Hero",
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"content": "\u003cp>Gotta feel a little sorry for director José Padilha, tasked with taking over an action-classic remake that had been stuck in development for years — and that fans of the much-admired original eyed with considerable skepticism.\u003c/p>\n\u003cp>But let’s also be honest for a moment about the movie Padilha is revisiting: Paul Verhoeven’s 1987 \u003cem>RoboCop\u003c/em>, a B movie punching far above its weight, with some cheekily subversive Establishment-tweaking and brilliantly executed subtext buried under some truly clunky performances and stock ’80s action. In short: There was plenty of room for improvement. And in taking advantage of that, Padilha’s new take on the material isn’t the disaster some might have predicted.\u003c/p>\n\u003cp>It doesn’t hurt that Padilha and screenwriter Joshua Zetumer have even more fertile political material to work with in 2014. Verhoeven’s film had no shortage of targets — among them rampant crime, corruption, the vapidity of media and entertainment, and corporate greed. The update manages to work with all of those while also taking high-caliber shots at drone warfare, flag-waving cable-news talking heads and the vulnerability of legislators to money and marketing.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=FnRJ0r0eivk\u003c/p>\n\u003cp>The basic story is the same: Detroit cop Alex Murphy (Joel Kinnaman), recently all but killed in the line of duty, is rebuilt as a cyborg crime fighter by a huge corporation looking to mine the city’s out-of-control crime troubles for profit. As before, nearly everyone involved is crooked in one way or another, and it’s up to our metallic hero to find the humanity still tangled up amid the circuitry that’s so thoroughly clouding his brain functions, so he can clean up more than just the city’s streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around that core, the biggest improvement is in the performances — no surprise, with names like Michael Keaton and Gary Oldman at the top of the cast list. Keaton plays conniving OmniCorp head honcho Raymond Sellars, Oldman the morally compromised biomechanics visionary Dr. Dennett Norton; it’s the battle of wills between these two men that really drives this new \u003cem>RoboCop,\u003c/em> with Murphy as a kind of hulking rag doll being pulled in both directions by the competing needs of commerce and science.\u003c/p>\n\u003cp>Keaton brings a smug but personable arrogance to his role — just the kind of charismatic sliminess it requires — while Oldman is the movie’s wobbly moral center, a good man corrupted by circumstance and weakness. Norton is a doctor who wants funding to further research and develop mechanical prosthetics, but Sellars cares only about using the scientist’s successes to influence legislation that would let him supply fully automated crime-control drones to the government. The CEO’s primary ally is Mattox (Jackie Earl Haley), a robot tactician who finds RoboCop a laughable project — like his boss, he favors pure robotics over the cyborg approach.\u003c/p>\n\u003cp>All those political threads are on point, but the film is strongest when it’s wrestling with notions of what it really means to be human — this after Murphy has been reduced to literally nothing more than a head, heart and lungs encased in a metal shell. (The big reveal of his true physical state is an eye-opening effect.) If the undercurrent of the story has echoes of Frankenstein, Mattox sees Murphy as nothing more than a hollow Tin Man, and underlines his derision with a nicely deployed rendition of “If I Only Had a Heart” during a key training sequence.\u003c/p>\n\u003cp>Even with those excellent performances, augmented by a fantastically entertaining Samuel L. Jackson as a wild-eyed right-wing TV political host, there’s still something about Padilha’s \u003cem>RoboCop\u003c/em> that feels cold and distant. Part of the charm of the original was its raggedness, its embrace of a B-movie aesthetic in the service of smart, dark satire. Padilha’s take is almost all business, as grimly efficient at getting its points across as Murphy himself is during the period when his handlers have suppressed his emotions entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s well made, polished, and hits every mark — but is it crazy to want a futuristic sci-fi action flick about a motorcycle-riding metal supercop to be just a little more fun? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RoboCop%27+Remake%2C+As+Mechanical+As+Its+Cyborg+Hero&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gotta feel a little sorry for director José Padilha, tasked with taking over an action-classic remake that had been stuck in development for years — and that fans of the much-admired original eyed with considerable skepticism.\u003c/p>\n\u003cp>But let’s also be honest for a moment about the movie Padilha is revisiting: Paul Verhoeven’s 1987 \u003cem>RoboCop\u003c/em>, a B movie punching far above its weight, with some cheekily subversive Establishment-tweaking and brilliantly executed subtext buried under some truly clunky performances and stock ’80s action. In short: There was plenty of room for improvement. And in taking advantage of that, Padilha’s new take on the material isn’t the disaster some might have predicted.\u003c/p>\n\u003cp>It doesn’t hurt that Padilha and screenwriter Joshua Zetumer have even more fertile political material to work with in 2014. Verhoeven’s film had no shortage of targets — among them rampant crime, corruption, the vapidity of media and entertainment, and corporate greed. The update manages to work with all of those while also taking high-caliber shots at drone warfare, flag-waving cable-news talking heads and the vulnerability of legislators to money and marketing.\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/FnRJ0r0eivk'\n title='//www.youtube.com/embed/FnRJ0r0eivk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The basic story is the same: Detroit cop Alex Murphy (Joel Kinnaman), recently all but killed in the line of duty, is rebuilt as a cyborg crime fighter by a huge corporation looking to mine the city’s out-of-control crime troubles for profit. As before, nearly everyone involved is crooked in one way or another, and it’s up to our metallic hero to find the humanity still tangled up amid the circuitry that’s so thoroughly clouding his brain functions, so he can clean up more than just the city’s streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around that core, the biggest improvement is in the performances — no surprise, with names like Michael Keaton and Gary Oldman at the top of the cast list. Keaton plays conniving OmniCorp head honcho Raymond Sellars, Oldman the morally compromised biomechanics visionary Dr. Dennett Norton; it’s the battle of wills between these two men that really drives this new \u003cem>RoboCop,\u003c/em> with Murphy as a kind of hulking rag doll being pulled in both directions by the competing needs of commerce and science.\u003c/p>\n\u003cp>Keaton brings a smug but personable arrogance to his role — just the kind of charismatic sliminess it requires — while Oldman is the movie’s wobbly moral center, a good man corrupted by circumstance and weakness. Norton is a doctor who wants funding to further research and develop mechanical prosthetics, but Sellars cares only about using the scientist’s successes to influence legislation that would let him supply fully automated crime-control drones to the government. The CEO’s primary ally is Mattox (Jackie Earl Haley), a robot tactician who finds RoboCop a laughable project — like his boss, he favors pure robotics over the cyborg approach.\u003c/p>\n\u003cp>All those political threads are on point, but the film is strongest when it’s wrestling with notions of what it really means to be human — this after Murphy has been reduced to literally nothing more than a head, heart and lungs encased in a metal shell. (The big reveal of his true physical state is an eye-opening effect.) If the undercurrent of the story has echoes of Frankenstein, Mattox sees Murphy as nothing more than a hollow Tin Man, and underlines his derision with a nicely deployed rendition of “If I Only Had a Heart” during a key training sequence.\u003c/p>\n\u003cp>Even with those excellent performances, augmented by a fantastically entertaining Samuel L. Jackson as a wild-eyed right-wing TV political host, there’s still something about Padilha’s \u003cem>RoboCop\u003c/em> that feels cold and distant. Part of the charm of the original was its raggedness, its embrace of a B-movie aesthetic in the service of smart, dark satire. Padilha’s take is almost all business, as grimly efficient at getting its points across as Murphy himself is during the period when his handlers have suppressed his emotions entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s well made, polished, and hits every mark — but is it crazy to want a futuristic sci-fi action flick about a motorcycle-riding metal supercop to be just a little more fun? \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27RoboCop%27+Remake%2C+As+Mechanical+As+Its+Cyborg+Hero&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Spend Valentine's Day with Band Of Horses",
"headTitle": "Spend Valentine’s Day with Band Of Horses | KQED",
"content": "\u003cp>Yesterday (Tuesday, February 11), Band Of Horses released a new, stripped-down record, \u003ci>Acoustic at the Ryman\u003c/i>, and embarked on a nationwide tour. Recorded over two nights in April 2013 at Nashville’s famed \u003ca href=\"http://ryman.com/history/\">Ryman Auditorium\u003c/a>, the album is an expansion of the band’s \u003ca href=\"http://consequenceofsound.net/2013/10/record-store-day-announces-black-friday-2013-releases/\">Record Store Day Black Friday\u003c/a> 7-inch release.\u003c/p>\n\u003cp>The acoustic tour rolls through San Francisco on Valentine’s Day, offering what is sure to be a heart-warming experience for couples and singles alike. With the Palace of Fine Arts as its venue, romanticism of various varieties will surely abound.\u003c/p>\n\u003cp>Today’s celebrated rock and roll seems to lie on two extremes — one housing theatrical, lush, ultra-produced, often electronic mega-music; the other offering stripped to the bone, loud and proud, PBR-drenched garage rock. Somewhere in the middle lies Band Of Horses, playing what I like to call “normal” rock.\u003c/p>\n\u003cp>\u003ci>Acoustic at the Ryman\u003c/i> highlights this normalcy. A lyrical portion of “Marry Song,” the record’s opening track, asks:\u003c/p>\n\u003cp>\u003ci>How is your sister?\u003cbr>What of your brother?\u003cbr>Extend hellos to\u003cbr>Your father and mother.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The new album’s stripped down arrangements place a more refined focus on the band’s lyrics and harmonies, revealing the songs as intimate conversations shared among inseparable friends. The extremely realistic \u003ca href=\"http://mytekdigital.com/dsd/index.htm\">Mytek Digital recording technology\u003c/a> utilized in the album’s production intensifies this intimacy. The end result is a record that comes across more like a high-fidelity home movie of a family reunion than a typical live album.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=fDKT-Onjub8\u003c/p>\n\u003cp>This is a special release that will almost certainly be propped up by special performances on its supporting tour. If the Bay Area Valentine’s Day show comes anywhere close to what was offered up to the \u003ca href=\"http://consequenceofsound.net/2014/01/listen-band-of-horses-acoustic-version-of-detlef-schrempf/\">bear-hugging fans\u003c/a> of Nashville last year, then we are certainly in for a treat. Expectations are high — if one is to judge by the price of tickets selling on secondary markets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Band Of Horses performs on Friday, February 14 at the Palace of Fine Arts in San Francisco. The show is sold out; however, tickets are still available via \u003ca href=\"http://www.stubhub.com/band-of-horses-tickets/band-of-horses-san-francisco-palace-of-fine-arts-14-2-2014-4423008/\">StubHub\u003c/a>. For \u003ca href=\"http://www.palaceoffinearts.org/Welcome.html\">more information\u003c/a> visit palaceoffinearts.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The new album’s stripped down arrangements place a more refined focus on the band’s lyrics and harmonies, revealing the songs as intimate conversations shared among inseparable friends. The extremely realistic \u003ca href=\"http://mytekdigital.com/dsd/index.htm\">Mytek Digital recording technology\u003c/a> utilized in the album’s production intensifies this intimacy. The end result is a record that comes across more like a high-fidelity home movie of a family reunion than a typical live album.\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/fDKT-Onjub8'\n title='//www.youtube.com/embed/fDKT-Onjub8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a special release that will almost certainly be propped up by special performances on its supporting tour. If the Bay Area Valentine’s Day show comes anywhere close to what was offered up to the \u003ca href=\"http://consequenceofsound.net/2014/01/listen-band-of-horses-acoustic-version-of-detlef-schrempf/\">bear-hugging fans\u003c/a> of Nashville last year, then we are certainly in for a treat. Expectations are high — if one is to judge by the price of tickets selling on secondary markets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Band Of Horses performs on Friday, February 14 at the Palace of Fine Arts in San Francisco. The show is sold out; however, tickets are still available via \u003ca href=\"http://www.stubhub.com/band-of-horses-tickets/band-of-horses-san-francisco-palace-of-fine-arts-14-2-2014-4423008/\">StubHub\u003c/a>. For \u003ca href=\"http://www.palaceoffinearts.org/Welcome.html\">more information\u003c/a> visit palaceoffinearts.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The lake in Alain Guiraudie’s \u003cem>Stranger by the Lake\u003c/em> is gorgeous — aquamarine, pristine, surrounded by pebbly beaches and dense woods. Families cluster on the far side of it, but on the side we see, there are only men. It’s a gay cruising spot, frequented by mostly nude sunbathers and swimmers, many of whom come here often enough to know each other by sight if not by name.\u003c/p>\n\u003cp>Franck (Pierre Deladonchamps) is a handsome, slender, 30-something regular who turns a lot of heads as he heads for the water, but he’s relaxed enough that, after a bit of swimming, he strikes up a conversation with Henri (Patrick d’Assumcao), a pudgy middle-aged fellow he doesn’t know. Henri sits apart from the rest of the pack, claiming to be disinterested in anything but solitude and fresh air.\u003c/p>\n\u003cp>Theirs is a friendly, entirely platonic encounter — just two guys talking about jobs, and whether the lake is really home to a 15-foot catfish. But as they talk, Franck eyes other men ambling up to the woods alone or in pairs for what will clearly be less platonic encounters. When a rugged-looking guy (Christophe Paou) with a Tom Selleck mustache heads for the tree line, Franck excuses himself and follows.\u003c/p>\n\u003cp> http://www.youtube.com/watch?v=PgcEGKn7waI\u003c/p>\n\u003cp>Other filmmakers might leave to your imagination what goes on in those woods. Not writer-director Guiraudie, who’s ventured into erotic territory, both hetero- and homo-, in such films as \u003cem>The King of Escape\u003c/em> and \u003cem>No Rest for the Brave; \u003c/em>he makes explicit a fairly Kama Sutric display of what men can do with men with other men watching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What he captures — and what the men involved quite evidently want — is an environment where physical intimacy is coupled with social isolation. Anonymous sex, observed and practiced in the now, without entanglements or any thought of the future.\u003c/p>\n\u003cp>And just how little future there is for at least one coupling becomes clear a few hours later, when the sun sets and the beach is deserted. Franck watches from a shadowed spot in the woods — spying two swimmers in the middle of the lake, horsing around … and then not. One man is pushed underwater and doesn’t resurface; the other swims to shore, gets dressed, looks around to make sure he’s not been observed, and leaves.\u003c/p>\n\u003cp>By this point, \u003cem>Stranger by the Lake\u003c/em> has become a psychosexually intriguing blend of Alfred Hitchcock’s \u003cem>Rear Window\u003c/em> and William Friedkin’s \u003cem>Cruising\u003c/em> — one in which sex gets intertwined with murder, fear battles desire, and the police discover that voyeurs don’t necessarily make good witnesses if no one ever exchanges names or phone numbers.\u003c/p>\n\u003cp>Franck’s two lakeside relationships — one involving conversation, the other sex — get tangled in harrowing ways as a police inspector (Jerome Chappatte) raises questions the film pointedly chooses not to answer: What does it say about the spot’s regulars that two days after a murder, everything’s back to normal? Where’s the concern for the drowned man? For each other? For their personal safety? And why should a potentially lethal silence be so universally embraced by this marginalized community?\u003c/p>\n\u003cp>“We have to go on living,” says Franck, even as his actions compromise his own chances of doing that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You have,” observes the inspector, “a funny way of loving each other.” An indictment, clearly, although the film suggests there’s more complexity to the intersection of danger and desire in this disconnected community than outsiders will ever be able to see. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sun+And+Water%2C+And+A+Dangerous+Brand+Of+Desire&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What he captures — and what the men involved quite evidently want — is an environment where physical intimacy is coupled with social isolation. Anonymous sex, observed and practiced in the now, without entanglements or any thought of the future.\u003c/p>\n\u003cp>And just how little future there is for at least one coupling becomes clear a few hours later, when the sun sets and the beach is deserted. Franck watches from a shadowed spot in the woods — spying two swimmers in the middle of the lake, horsing around … and then not. One man is pushed underwater and doesn’t resurface; the other swims to shore, gets dressed, looks around to make sure he’s not been observed, and leaves.\u003c/p>\n\u003cp>By this point, \u003cem>Stranger by the Lake\u003c/em> has become a psychosexually intriguing blend of Alfred Hitchcock’s \u003cem>Rear Window\u003c/em> and William Friedkin’s \u003cem>Cruising\u003c/em> — one in which sex gets intertwined with murder, fear battles desire, and the police discover that voyeurs don’t necessarily make good witnesses if no one ever exchanges names or phone numbers.\u003c/p>\n\u003cp>Franck’s two lakeside relationships — one involving conversation, the other sex — get tangled in harrowing ways as a police inspector (Jerome Chappatte) raises questions the film pointedly chooses not to answer: What does it say about the spot’s regulars that two days after a murder, everything’s back to normal? Where’s the concern for the drowned man? For each other? For their personal safety? And why should a potentially lethal silence be so universally embraced by this marginalized community?\u003c/p>\n\u003cp>“We have to go on living,” says Franck, even as his actions compromise his own chances of doing that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You have,” observes the inspector, “a funny way of loving each other.” An indictment, clearly, although the film suggests there’s more complexity to the intersection of danger and desire in this disconnected community than outsiders will ever be able to see. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sun+And+Water%2C+And+A+Dangerous+Brand+Of+Desire&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a fascinating tale to be told in \u003cem>The Monuments Men\u003c/em>, George Clooney’s new film based on the true story of a search for looted art stolen by the Nazis during World War II. In real life, with fighting still raging on the battlefields of Europe, a small team of art experts searched urgently for tens of thousands of missing paintings and sculptures. The movie’s audience will search for something a little different.\u003c/p>\n\u003cp>It’s the spring of 1944 when middle-aged museum curator George Clooney tells middle-aged art restorer Matt Damon that he’s got the go-ahead from President Franklin Delano Roosevelt to head for the Continent. The only catch: He’s got to go as an enlisted man, with everything that entails.\u003c/p>\n\u003cp>Damon’s character is skeptical. “You want to go into a war zone and tell our boys what they can and cannot blow up?”\u003c/p>\n\u003cp>That’s the idea, he’s told — though commanders on the front won’t be terribly sympatico when they get there. He’s even more skeptical about the notion of their joining a whole cultural-over-the-hill-gang in basic training.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=CreneTs7sGs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And when we meet the gang, it’s evident why. There’s a disgraced museum director straight from \u003cem>Downton Abbey\u003c/em> (Hugh Bonneville), an artist straight from \u003cem>The Artist\u003c/em> (Jean Dujardin), a bickering odd-couple of non-artist hangers-on (Bill Murray and Bob Balaban), and a sculptor (John Goodman) who drags himself through a basic-training obstacle course with cheerful abandon, assuming erroneously that the teenagers firing just over his head are shooting blanks.\u003c/p>\n\u003cp>You needn’t worry for a while, though, because Clooney not only acts in and directs this high-spirited little epic — which seems to want to be the best World War II movie of 1963 — but he also co-scripted, and he has a lot to get off his chest before anything much can happen.\u003c/p>\n\u003cp>Get off his chest not in dialogue, exactly, but in speeches — patriotic (“We must and will win this war”), noble (“We’re fighting for a culture and a way of life”), expository (“It’s not random, it’s systematic; every one of those paintings is a masterpiece”), lofty (“Remember the high price that’ll be paid if the very foundation of modern society is destroyed”) and philosophical (“You can wipe out a generation of people, you can burn their homes to the ground and somehow they’ll come back, but if you destroy their achievements, their history, it’s as if they never existed”).\u003c/p>\n\u003cp>I’m guessing audiences would get the point without all the pointing, but credit the director-star-producer-co-writer with making a film that almost no one else in Hollywood could have gotten made. And credit his buddies for being good sports in it. Damon, for instance, isn’t so much playing a part as playing a walking bad-French joke, who’s mocked by Cate Blanchett in an Australian-French accent. (The crust!)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thing is, though, they’re all working hard to liven-up what turns out to be a surprisingly lackadaisical race against time. There’s lots of information, some nice images, plenty of earnest sermonizing about culture and almost no suspense, or tension, or character development, or structure. Or, well, art. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Plenty+Of+Heart%2C+Not+Much+Art+In+%27Monuments+Men%27&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"title": "'Lego Movie': A Goofy Toy Story That Genuinely Clicks",
"headTitle": "‘Lego Movie’: A Goofy Toy Story That Genuinely Clicks | KQED",
"content": "\u003cp>If you’d told 10-year-old me there was going to be a movie all about Legos and the world they inhabit, I’d have been in line at the theater right then. Oh, it’s not out until 2014? Okay, let me just \u003cem>build a time machine out of Legos\u003c/em> and travel to the future. But adult me, hardened by years of non-Lego life experience — insipid toy-to-movie adaptations like \u003cem>Battleship\u003c/em>, for instance, plus a sore lack of a regular free-form building sessions — had his guard up.\u003c/p>\n\u003cp>Wasn’t necessary: \u003cem>The Lego Movie \u003c/em>maybe be one giant advertisement, but all the way to its plastic-mat foundation, it’s an earnest piece of work — a cash grab with a heart. Made for, with and about Legos, the movie is also made for, with and about imagination, and when that association seems completely natural, it’s a win all around.\u003c/p>\n\u003cp>The movie chooses as its hero the unimaginative but boundlessly positive Emmet (voiced by Chris Pratt), who’s just another average Lego guy living in the big Lego city going about his regular Lego day. As with most things Lego, there’s an instruction manual for everything, and Emmet eats, watches and says exactly what he’s supposed to. The instructions say that’s how you fit in, make friends, lead a happy life — only somehow that hasn’t worked out for Emmet, who doesn’t really have friends yet. (There’s an unsubtle critique of mainstream conformity going on here, exemplified by the transparently dumb yet incredibly catchy Lego pop hit “Everything is AWESOME,” which won’t be leaving your head for days after you hear it.)\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=fZ_JOBCLF-I\u003c/p>\n\u003cp>There’s an evil mastermind bent on destroying the world, a prophecy about a chosen one and a spirited adventure to get to, but let’s talk for a second about how this movie moves: When Emmet showers, the water and soap suds are Lego pieces. When circumstances lead Emmet out of the city and across Lego deserts, forests and oceans, the land, sea and lava are all solid Legos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Animated in 3-D, but made to look like it’s a stop-motion joint, the movie takes pleasure in translating how we move to a Lego-based reality and revels in the goofiness of a world operating under Lego-specific laws of physics. When you ride a horse its legs stay frozen even at a gallop; your head can swivel 180 degrees; and Krazy Glue spells immobilizing doom.\u003c/p>\n\u003cp>Writer-directors Phil Lord and Christopher Miller, of \u003cem>Cloudy with a Chance of Meatballs\u003c/em>, charged both with balancing the needs of a brand and telling a lighthearted story, never miss an opportunity to get silly with how Legos work: When Emmet catches a mysterious woman named Wyldstyle (Elizabeth Banks) poking around the construction site where he works, for instance, the slow-motion hair-flip you’ve seen in a thousand Hollywood romances is a clip-on hair piece swiveling back and forth on her yellow Lego head.\u003c/p>\n\u003cp>The self-conscious, irreverent tone holds steady as the stakes increase. When Emmet finds a strange red piece that sticks itself to his back, Wyldstyle identifies him as The Special — the smartest, most talented, most interesting, most superlative-in-everything person who’s destined to save the Lego world from the order-obsessed Lord Business (Will Ferrell). Of course Emmet goes along with the idea, with Pratt lending him a can-do enthusiasm that’s infectious to everyone but the movie’s other characters — especially once Wyldstyle, along with sage Lego wizard Vitruvius (Morgan Freeman), and a brooding, self-absorbed Lego Batman (Will Arnett) discover that he’s not special at all.\u003c/p>\n\u003cp>That doesn’t stop Emmet from being pursued by Bad Cop (Liam Neeson), on orders from Business, across the diverse Lego world. (If there’s a Lego set for it, they go there.) Neeson also voices Good Cop — the split personality living on the back side of Bad Cop’s head — and it’s a rare delight to hear Neeson depart from the growl for cheery words of encouragement.\u003c/p>\n\u003cp>Energetically plotted and lousy with jokes,\u003cem> The Lego Movie\u003c/em> succeeds as much more than a marketing ploy, not least because it understands what makes Legos so appealing and embraces the anarchic way kids actually play with them: The instructions are there, but often the most fun you can have is when you break the rules and assemble something weird and new that only you could create — whether it’s a spaceship built from mountains and alligators or a double-decker couch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emphasizing that idea too bluntly in a sharp swerve near the movie’s end almost sends our heroes jumping the Lego shark, but it’s hard to fault the filmmakers for getting a little saccharine; they’re sincere about celebrating imagination and play. They’ve delivered a story that could have been spun from the head of a kid sitting down to play with their Legos — and for adults ready to dust off their childhood sets, they’ve captured that feeling of creative possibility remarkably well. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lego+Movie%27%3A+A+Goofy+Toy+Story+That+Genuinely+Clicks&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "An order-loving businessman plans to destroy the Lego universe by permanently gluing all of its pieces together. Critic Joel Arnold says the film is a brash brand-merchandising exercise with a gratifyingly silly sense of creativity and play. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’d told 10-year-old me there was going to be a movie all about Legos and the world they inhabit, I’d have been in line at the theater right then. Oh, it’s not out until 2014? Okay, let me just \u003cem>build a time machine out of Legos\u003c/em> and travel to the future. But adult me, hardened by years of non-Lego life experience — insipid toy-to-movie adaptations like \u003cem>Battleship\u003c/em>, for instance, plus a sore lack of a regular free-form building sessions — had his guard up.\u003c/p>\n\u003cp>Wasn’t necessary: \u003cem>The Lego Movie \u003c/em>maybe be one giant advertisement, but all the way to its plastic-mat foundation, it’s an earnest piece of work — a cash grab with a heart. Made for, with and about Legos, the movie is also made for, with and about imagination, and when that association seems completely natural, it’s a win all around.\u003c/p>\n\u003cp>The movie chooses as its hero the unimaginative but boundlessly positive Emmet (voiced by Chris Pratt), who’s just another average Lego guy living in the big Lego city going about his regular Lego day. As with most things Lego, there’s an instruction manual for everything, and Emmet eats, watches and says exactly what he’s supposed to. The instructions say that’s how you fit in, make friends, lead a happy life — only somehow that hasn’t worked out for Emmet, who doesn’t really have friends yet. (There’s an unsubtle critique of mainstream conformity going on here, exemplified by the transparently dumb yet incredibly catchy Lego pop hit “Everything is AWESOME,” which won’t be leaving your head for days after you hear it.)\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/fZ_JOBCLF-I'\n title='//www.youtube.com/embed/fZ_JOBCLF-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s an evil mastermind bent on destroying the world, a prophecy about a chosen one and a spirited adventure to get to, but let’s talk for a second about how this movie moves: When Emmet showers, the water and soap suds are Lego pieces. When circumstances lead Emmet out of the city and across Lego deserts, forests and oceans, the land, sea and lava are all solid Legos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Animated in 3-D, but made to look like it’s a stop-motion joint, the movie takes pleasure in translating how we move to a Lego-based reality and revels in the goofiness of a world operating under Lego-specific laws of physics. When you ride a horse its legs stay frozen even at a gallop; your head can swivel 180 degrees; and Krazy Glue spells immobilizing doom.\u003c/p>\n\u003cp>Writer-directors Phil Lord and Christopher Miller, of \u003cem>Cloudy with a Chance of Meatballs\u003c/em>, charged both with balancing the needs of a brand and telling a lighthearted story, never miss an opportunity to get silly with how Legos work: When Emmet catches a mysterious woman named Wyldstyle (Elizabeth Banks) poking around the construction site where he works, for instance, the slow-motion hair-flip you’ve seen in a thousand Hollywood romances is a clip-on hair piece swiveling back and forth on her yellow Lego head.\u003c/p>\n\u003cp>The self-conscious, irreverent tone holds steady as the stakes increase. When Emmet finds a strange red piece that sticks itself to his back, Wyldstyle identifies him as The Special — the smartest, most talented, most interesting, most superlative-in-everything person who’s destined to save the Lego world from the order-obsessed Lord Business (Will Ferrell). Of course Emmet goes along with the idea, with Pratt lending him a can-do enthusiasm that’s infectious to everyone but the movie’s other characters — especially once Wyldstyle, along with sage Lego wizard Vitruvius (Morgan Freeman), and a brooding, self-absorbed Lego Batman (Will Arnett) discover that he’s not special at all.\u003c/p>\n\u003cp>That doesn’t stop Emmet from being pursued by Bad Cop (Liam Neeson), on orders from Business, across the diverse Lego world. (If there’s a Lego set for it, they go there.) Neeson also voices Good Cop — the split personality living on the back side of Bad Cop’s head — and it’s a rare delight to hear Neeson depart from the growl for cheery words of encouragement.\u003c/p>\n\u003cp>Energetically plotted and lousy with jokes,\u003cem> The Lego Movie\u003c/em> succeeds as much more than a marketing ploy, not least because it understands what makes Legos so appealing and embraces the anarchic way kids actually play with them: The instructions are there, but often the most fun you can have is when you break the rules and assemble something weird and new that only you could create — whether it’s a spaceship built from mountains and alligators or a double-decker couch.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emphasizing that idea too bluntly in a sharp swerve near the movie’s end almost sends our heroes jumping the Lego shark, but it’s hard to fault the filmmakers for getting a little saccharine; they’re sincere about celebrating imagination and play. They’ve delivered a story that could have been spun from the head of a kid sitting down to play with their Legos — and for adults ready to dust off their childhood sets, they’ve captured that feeling of creative possibility remarkably well. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lego+Movie%27%3A+A+Goofy+Toy+Story+That+Genuinely+Clicks&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Middle-Aged And Divorced, 'Gloria' Takes On Life's Uncertainties",
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"content": "\u003cp>The Chilean drama \u003ci>Gloria\u003c/i> is a lovely surprise. Paulina Garcia plays Gloria, 58 years old, middle class, 10 years divorced. We first see her sitting at the bar at a single’s event for older people. She wears big, round glasses like the specs worn by Dustin Hoffman as Dorothy Michaels in \u003ci>Tootsie\u003c/i>. Her aloneness comes through vividly, yet she waits with a kind of equanimity.\u003c/p>\n\u003cp>The music is vintage disco and it seems to keep her buoyant — and the movie buoyant too. It is a lonely life. Her son is emotionally distant, her daughter who teaches yoga, is absorbed in a new relationship with a roving Swede. The streets of Santiago are full of young demonstrators. Her intellectual friends argue nervously about the country’s future.\u003c/p>\n\u003cp>In the flat above her, an unseen man rants into the night, his grasp of reality tenuous. His cat has wandered into Gloria’s apartment — a skeletal, hairless beast that she feeds. Most unsettling. But when Gloria drives through the city, she sings along to pop songs full of hope.\u003c/p>\n\u003cp>Paulina Garcia is well known in Chile as a TV actress, a playwright, and a director. She’s new to me, but now I’ll go see her in anything. What makes her performance so wonderful is how she portrays a state of flux. She is always game, always slightly wary. Never quite sure of her place in the world. The more you get to know her the more fascinating she becomes.\u003c/p>\n\u003cp>And we don’t meet women like Gloria enough in movies. An older man named Rodolfo, played by Sergio Hernandez, fastens onto her. He’s a retired navy man who owns a sort of fun center — paintball games and the like. His passion is hard for Gloria to resist. But there are worrying signs. There’s something pleading in his demeanor. And he’s besieged by calls from his ex-wife and overly dependent grown daughters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When her daughter asks, “Who is this guy, Mom,” the uncertainty on her face is haunting. Damned if she knows. The writer-director Sebastian Lelio wrote “Gloria” for Garcia. In an interview, he said its emotional heart is the bassa nova song “Waters of March,” best known in English in a gorgeous rendition by the late Susannah McCorkle, here sung by Gloria and her friends.\u003c/p>\n\u003cp>The movie, says Lelio, is a cinematic bassa nova — bittersweet, full of difficult themes, but also the poetry of daily life manifest even in silly pop song lyrics. The movie doesn’t lie about its heroine’s dwindling options. Her romantic life is tenuous; her children are gone. Her eyesight is going. It’s rife with disappointments and humiliations, among them a sequence that’s delirious and excruciating in which Gloria gets drunk at a casino.”\u003c/p>\n\u003cp>“But the film has a wild card up its sleeve — the old disco hit “Gloria” which arrives when we need it most. In the Laura Brannigan English cover, it’s about a woman nobody wants. In the original, written by Umberto Tozzi, it’s positively throbbing with possibilities. The movie is a seesaw between happy and horrible, but it still leaves you wanting to dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/2014/01/24/265353238/middle-aged-and-divorced-gloria-takes-on-life-s-uncertainties\">NPR\u003c/a>\u003c/p>\n\n",
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"excerpt": "\u003ci>Gloria\u003c/i> is a new film from Chile that centers on a late-middle-aged divorced woman whose life is full of ambiguity. She's played by Paulina Garcia, who won the top acting prize -- the Silver Bear -- at the 2013 Berlin Film Festival, where the movie was a surprise hit.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Chilean drama \u003ci>Gloria\u003c/i> is a lovely surprise. Paulina Garcia plays Gloria, 58 years old, middle class, 10 years divorced. We first see her sitting at the bar at a single’s event for older people. She wears big, round glasses like the specs worn by Dustin Hoffman as Dorothy Michaels in \u003ci>Tootsie\u003c/i>. Her aloneness comes through vividly, yet she waits with a kind of equanimity.\u003c/p>\n\u003cp>The music is vintage disco and it seems to keep her buoyant — and the movie buoyant too. It is a lonely life. Her son is emotionally distant, her daughter who teaches yoga, is absorbed in a new relationship with a roving Swede. The streets of Santiago are full of young demonstrators. Her intellectual friends argue nervously about the country’s future.\u003c/p>\n\u003cp>In the flat above her, an unseen man rants into the night, his grasp of reality tenuous. His cat has wandered into Gloria’s apartment — a skeletal, hairless beast that she feeds. Most unsettling. But when Gloria drives through the city, she sings along to pop songs full of hope.\u003c/p>\n\u003cp>Paulina Garcia is well known in Chile as a TV actress, a playwright, and a director. She’s new to me, but now I’ll go see her in anything. What makes her performance so wonderful is how she portrays a state of flux. She is always game, always slightly wary. Never quite sure of her place in the world. The more you get to know her the more fascinating she becomes.\u003c/p>\n\u003cp>And we don’t meet women like Gloria enough in movies. An older man named Rodolfo, played by Sergio Hernandez, fastens onto her. He’s a retired navy man who owns a sort of fun center — paintball games and the like. His passion is hard for Gloria to resist. But there are worrying signs. There’s something pleading in his demeanor. And he’s besieged by calls from his ex-wife and overly dependent grown daughters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When her daughter asks, “Who is this guy, Mom,” the uncertainty on her face is haunting. Damned if she knows. The writer-director Sebastian Lelio wrote “Gloria” for Garcia. In an interview, he said its emotional heart is the bassa nova song “Waters of March,” best known in English in a gorgeous rendition by the late Susannah McCorkle, here sung by Gloria and her friends.\u003c/p>\n\u003cp>The movie, says Lelio, is a cinematic bassa nova — bittersweet, full of difficult themes, but also the poetry of daily life manifest even in silly pop song lyrics. The movie doesn’t lie about its heroine’s dwindling options. Her romantic life is tenuous; her children are gone. Her eyesight is going. It’s rife with disappointments and humiliations, among them a sequence that’s delirious and excruciating in which Gloria gets drunk at a casino.”\u003c/p>\n\u003cp>“But the film has a wild card up its sleeve — the old disco hit “Gloria” which arrives when we need it most. In the Laura Brannigan English cover, it’s about a woman nobody wants. In the original, written by Umberto Tozzi, it’s positively throbbing with possibilities. The movie is a seesaw between happy and horrible, but it still leaves you wanting to dance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/2014/01/24/265353238/middle-aged-and-divorced-gloria-takes-on-life-s-uncertainties\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fahrrad Verrückter Künst: Bicycle Derelict Art at Nowheresville SF",
"headTitle": "Fahrrad Verrückter Künst: Bicycle Derelict Art at Nowheresville SF | KQED",
"content": "\u003cp>Opening this Saturday in the Mission’s Nowheresville SF gallery is an eclectic group show featuring the paintings, drawings, watercolors and mixed-media creations of several local artists and cyclists including Alexis Knudsen, Chris McNally and Casey Robertson. Works by gallery owner Paul Urich and curator Stevil Kinevil will also be highlighted in the month-long exhibit co-presented by the Colorado-based bicycle company Swobo.\u003c/p>\n\u003cp>I’ve personally known Stevil for several years, as we frequent the same social circles within the Bay Area cycling community. In addition to his status as a beloved dark horse ambassador of cycling with a wry sense of humor, he’s a prolific writer, artist, and “an unashamed and unapologetic Germanphile” — hence the colorful title of the show: \u003cb>Fahrrad Verrückter Künst\u003c/b>. It’s “a continuation of my appreciation for German Expressionism, my wife and her family’s heritage … and because I think anything with an umlaut looks cool,” Stevil commented via email.\u003c/p>\n\u003cp>Fahrrad Verrückter Künst, which loosely translates to “Bicycle Derelict Art,” has its roots in Stevil’s passion for cycling culture and artists who work outside of the mainstream.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart-640.jpg\" width=\"640\" height=\"640\" alt=\"Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\" class>\u003cfigcaption class=\"wp-caption-text\">Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\u003c/figcaption>\u003c/figure>\n\u003cp>“I spent a few years employed as an art installer. Our clientele included museums, renowned galleries and the Bay Area’s elite. I was dismayed to find that in all of my time employed in that profession, only a few clients (private collectors specifically, as opposed to the museums or galleries) would purchase pieces of art because they happened to genuinely love them.\u003c/p>\n\u003cp>In all of the other cases, people were buying art that their consultants would tell them to, because the artist was the flavor of the month, or because their neighbors had bought a piece. It was all very “keeping up with the Joneses.” Suffice to say, at least in that regard, the work is ‘outsider art,’ because we’re not on the status quo’s radar, which frankly, after having seen that side of it, I’m perfectly happy with.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kinevil’s been kicking around the idea for this show for at least ten years. “Starting back when I was a bicycle messenger in San Francisco in the ’90s, it was with some regularity I’ve submitted work for consideration to shows happening in conjunction with bicycle-related events: the Bicycle Messenger World Championships, The Bicycle Film Festival, etc. And without exception, my work was rejected because “it didn’t have anything to do with bikes.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart2.jpg\" width=\"500\" height=\"667\" alt=\"Paul Urich, Grim Happy Face\" class>\u003cfigcaption class=\"wp-caption-text\">Paul Urich, Grim Happy Face\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the fact that he had committed himself “to nearly every facet of the bicycle world for over half my life,” Stevil realized that his ideas of what constituted “bicycle art” was different from his colleagues — so he decided to define his unique artistic connections to cycling through his own curatorial lens.\u003c/p>\n\u003cp>“It was because of those interactions that I was inspired to curate and take part in this show, which is work made by cyclists — all of whom are equally committed to their art lives as they are their bike lives, but consciously maintain a distinct separation between the two. The result is a show of work made by cyclists, that has visually nothing to do with bikes yet at the same time, because of who made it, has everything to do with them.”\u003c/p>\n\u003cp>Swobo’s president, Peter Discoe, “was very enthusiastic about supporting [the show] in whatever way [he] could. Like me, he sees the bike world as a very myopic one. This is our opportunity to hopefully expand people’s perceptions of who the brand is and the fact that cyclists are capable at being multifaceted… Plus I think they’re also buying the beer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Fahrrad Verrückter Künst\u003c/b> opens at 6pm on February 8, 2014 at Nowheresville SF (483 14th Street, San Francisco, CA) and runs through March 31, 2014. For \u003ca href=\"http://swoboradio.com/2014/01/30/bicycle-derelict-art-nowheresville-sf-sat-2814-6-pm/\">more information\u003c/a> visit swoboradio.com. On Twitter: \u003ca href=\"https://twitter.com/NowheresvilleSF\">@NowheresvilleSF\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opening this Saturday in the Mission’s Nowheresville SF gallery is an eclectic group show featuring the paintings, drawings, watercolors and mixed-media creations of several local artists and cyclists including Alexis Knudsen, Chris McNally and Casey Robertson. Works by gallery owner Paul Urich and curator Stevil Kinevil will also be highlighted in the month-long exhibit co-presented by the Colorado-based bicycle company Swobo.\u003c/p>\n\u003cp>I’ve personally known Stevil for several years, as we frequent the same social circles within the Bay Area cycling community. In addition to his status as a beloved dark horse ambassador of cycling with a wry sense of humor, he’s a prolific writer, artist, and “an unashamed and unapologetic Germanphile” — hence the colorful title of the show: \u003cb>Fahrrad Verrückter Künst\u003c/b>. It’s “a continuation of my appreciation for German Expressionism, my wife and her family’s heritage … and because I think anything with an umlaut looks cool,” Stevil commented via email.\u003c/p>\n\u003cp>Fahrrad Verrückter Künst, which loosely translates to “Bicycle Derelict Art,” has its roots in Stevil’s passion for cycling culture and artists who work outside of the mainstream.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart-640.jpg\" width=\"640\" height=\"640\" alt=\"Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\" class>\u003cfigcaption class=\"wp-caption-text\">Stevil Kinevil, A Drawing Based On A Story Based On A Drunken Glance From A Distance\u003c/figcaption>\u003c/figure>\n\u003cp>“I spent a few years employed as an art installer. Our clientele included museums, renowned galleries and the Bay Area’s elite. I was dismayed to find that in all of my time employed in that profession, only a few clients (private collectors specifically, as opposed to the museums or galleries) would purchase pieces of art because they happened to genuinely love them.\u003c/p>\n\u003cp>In all of the other cases, people were buying art that their consultants would tell them to, because the artist was the flavor of the month, or because their neighbors had bought a piece. It was all very “keeping up with the Joneses.” Suffice to say, at least in that regard, the work is ‘outsider art,’ because we’re not on the status quo’s radar, which frankly, after having seen that side of it, I’m perfectly happy with.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kinevil’s been kicking around the idea for this show for at least ten years. “Starting back when I was a bicycle messenger in San Francisco in the ’90s, it was with some regularity I’ve submitted work for consideration to shows happening in conjunction with bicycle-related events: the Bicycle Messenger World Championships, The Bicycle Film Festival, etc. And without exception, my work was rejected because “it didn’t have anything to do with bikes.”\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bicycleart2.jpg\" width=\"500\" height=\"667\" alt=\"Paul Urich, Grim Happy Face\" class>\u003cfigcaption class=\"wp-caption-text\">Paul Urich, Grim Happy Face\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the fact that he had committed himself “to nearly every facet of the bicycle world for over half my life,” Stevil realized that his ideas of what constituted “bicycle art” was different from his colleagues — so he decided to define his unique artistic connections to cycling through his own curatorial lens.\u003c/p>\n\u003cp>“It was because of those interactions that I was inspired to curate and take part in this show, which is work made by cyclists — all of whom are equally committed to their art lives as they are their bike lives, but consciously maintain a distinct separation between the two. The result is a show of work made by cyclists, that has visually nothing to do with bikes yet at the same time, because of who made it, has everything to do with them.”\u003c/p>\n\u003cp>Swobo’s president, Peter Discoe, “was very enthusiastic about supporting [the show] in whatever way [he] could. Like me, he sees the bike world as a very myopic one. This is our opportunity to hopefully expand people’s perceptions of who the brand is and the fact that cyclists are capable at being multifaceted… Plus I think they’re also buying the beer.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Fahrrad Verrückter Künst\u003c/b> opens at 6pm on February 8, 2014 at Nowheresville SF (483 14th Street, San Francisco, CA) and runs through March 31, 2014. For \u003ca href=\"http://swoboradio.com/2014/01/30/bicycle-derelict-art-nowheresville-sf-sat-2814-6-pm/\">more information\u003c/a> visit swoboradio.com. On Twitter: \u003ca href=\"https://twitter.com/NowheresvilleSF\">@NowheresvilleSF\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Philip Seymour Hoffman, who won a best actor Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>, was reportedly dead in his Manhattan apartment at the age of 46.\u003c/p>\n\u003cp>Multiple media outlets have reported, quoting unnamed law enforcement officials, say \u003ca href=\"http://www.nytimes.com/2014/02/03/movies/philip-seymour-hoffman-actor-dies-at-46.html?hp\">the suspected cause of death is a drug overdose\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://online.wsj.com/news/articles/SB10001424052702304626804579358943360702878?mod=WSJ_hp_LEFTTopStories%20\">\u003ci>The Wall Street Journal\u003c/i> reports\u003c/a> that the New York Police Department and the Office of the Chief Medical Examiner are investigating to determine a cause of death. The newspaper quotes a police official as saying the actor was found dead at his apartment in the West Village neighborhood of Manhattan.\u003c/p>\n\u003cp>Hoffman’s first role was as a defendant in a 1991 episode of \u003ci>Law & Order\u003c/i>, he went on to appear in films \u003ci>Twister\u003c/i> (1996), \u003ci>Boogie Nights\u003c/i> (1997) and \u003ci>The Big Lebowski\u003c/i> (1998). He was nominated for a best supporting actor Oscar for the 2007 film \u003ci>Charlie Wilson’s War\u003c/i> and was in the process of filming a sequel to \u003ci>The Hunger Games\u003c/i>.\u003c/p>\n\u003cp>In a 2012 interview with \u003ca href=\"http://www.npr.org/2012/04/12/150305122/philip-seymour-hoffman-broadways-new-salesman\">NPR’s \u003ci>Morning Edition\u003c/i>\u003c/a>, Hoffman, who was then appearing on Broadway in the lead role of Willy Loman in Arthur Miller’s \u003ci>Death of a Salesman\u003c/i>, said it is a play that provokes thinking on all aspects of life, including family.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It really seeps into why we’re here,” Hoffman told host Steve Inskeep. “What are we doing, family, work, friends, hopes, dreams, careers, what’s happiness, what’s success, what does it mean, is it important, how do you get it?”\u003c/p>\n\u003cp>In 2009, he told \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=100888309\">\u003ci>Fresh Air\u003c/i>\u003c/a> that acting is a bit like athletics.\u003c/p>\n\u003cp>“What it takes to be a great athlete is the same thing that it takes to be a great actor,” says Hoffman. “… that kind of concentration, that kind of privacy in public and that kind of unselfconscious kind of experience are very similar.”\u003c/p>\n\u003cp>\u003ca href=\"http://international.nytimes.com/\">\u003ci>The New York Times\u003c/i>\u003c/a> says:\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Hoffman continued to solidify his status as one of his generation’s finest actors in 2008 with two very different roles. By choosing to play the lead in Charlie Kaufmann’s directorial debut \u003ci>Synecdoche, New York\u003c/i>, Hoffman again displayed his fearlessness, as well as his desire to work with the very best writers and directors he can find. That willfully difficult film never connected with mainstream audiences, but that was not true at all for Hoffman’s other picture of 2008, \u003ci>Doubt\u003c/i>. John Patrick Shanley’s cinematic adaptation of his own award-winning play earned acting nominations for Hoffman and his three costars (Meryl Streep, Amy Adams, and Viola Davis) from both the Screen Actors Guild, and the Academy.”\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Over the following years, Hoffman would continue to appear in a variety of interesting films, like \u003ci>Pirate Radio\u003c/i>, \u003ci>The Ides of March\u003c/i>, and \u003ci>Moneyball\u003c/i>. In 2012 he again collaborated with Paul Thomas Anderson, playing a cult leader in the drama \u003ci>The Master\u003c/i> opposite Joaquin Phoenix. For his work in that movie, Hoffman got a Best Supporting Actor nomination from both the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences.”\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/wsj-report-philip-seymour-hoffman-found-dead-in-new-york-1201082934/\">\u003ci>Variety\u003c/i>\u003c/a> notes that last year Hoffman “completed a 10-day substance abuse program for heroin. The actor later revealed that he had been addicted to the drug when he was younger but had been clean for over 20 years.”\u003c/p>\n\u003cp>\u003ci>The Times\u003c/i> says Hoffman has spoken in interviews about “falling off the wagon” last year after staying clean for 23 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/02/02/270599816/philip-seymour-hoffman-oscar-winner-found-dead-at-46\">NPR\u003c/a>\u003c/p>\n\n",
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"excerpt": "Citing law enforcement officials, multiple news outlets report that Hoffman was found dead in his New York apartment Sunday. The acclaimed actor won an Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Philip Seymour Hoffman, who won a best actor Oscar for the title role in the 2005 film \u003ci>Capote\u003c/i>, was reportedly dead in his Manhattan apartment at the age of 46.\u003c/p>\n\u003cp>Multiple media outlets have reported, quoting unnamed law enforcement officials, say \u003ca href=\"http://www.nytimes.com/2014/02/03/movies/philip-seymour-hoffman-actor-dies-at-46.html?hp\">the suspected cause of death is a drug overdose\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://online.wsj.com/news/articles/SB10001424052702304626804579358943360702878?mod=WSJ_hp_LEFTTopStories%20\">\u003ci>The Wall Street Journal\u003c/i> reports\u003c/a> that the New York Police Department and the Office of the Chief Medical Examiner are investigating to determine a cause of death. The newspaper quotes a police official as saying the actor was found dead at his apartment in the West Village neighborhood of Manhattan.\u003c/p>\n\u003cp>Hoffman’s first role was as a defendant in a 1991 episode of \u003ci>Law & Order\u003c/i>, he went on to appear in films \u003ci>Twister\u003c/i> (1996), \u003ci>Boogie Nights\u003c/i> (1997) and \u003ci>The Big Lebowski\u003c/i> (1998). He was nominated for a best supporting actor Oscar for the 2007 film \u003ci>Charlie Wilson’s War\u003c/i> and was in the process of filming a sequel to \u003ci>The Hunger Games\u003c/i>.\u003c/p>\n\u003cp>In a 2012 interview with \u003ca href=\"http://www.npr.org/2012/04/12/150305122/philip-seymour-hoffman-broadways-new-salesman\">NPR’s \u003ci>Morning Edition\u003c/i>\u003c/a>, Hoffman, who was then appearing on Broadway in the lead role of Willy Loman in Arthur Miller’s \u003ci>Death of a Salesman\u003c/i>, said it is a play that provokes thinking on all aspects of life, including family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It really seeps into why we’re here,” Hoffman told host Steve Inskeep. “What are we doing, family, work, friends, hopes, dreams, careers, what’s happiness, what’s success, what does it mean, is it important, how do you get it?”\u003c/p>\n\u003cp>In 2009, he told \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=100888309\">\u003ci>Fresh Air\u003c/i>\u003c/a> that acting is a bit like athletics.\u003c/p>\n\u003cp>“What it takes to be a great athlete is the same thing that it takes to be a great actor,” says Hoffman. “… that kind of concentration, that kind of privacy in public and that kind of unselfconscious kind of experience are very similar.”\u003c/p>\n\u003cp>\u003ca href=\"http://international.nytimes.com/\">\u003ci>The New York Times\u003c/i>\u003c/a> says:\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Hoffman continued to solidify his status as one of his generation’s finest actors in 2008 with two very different roles. By choosing to play the lead in Charlie Kaufmann’s directorial debut \u003ci>Synecdoche, New York\u003c/i>, Hoffman again displayed his fearlessness, as well as his desire to work with the very best writers and directors he can find. That willfully difficult film never connected with mainstream audiences, but that was not true at all for Hoffman’s other picture of 2008, \u003ci>Doubt\u003c/i>. John Patrick Shanley’s cinematic adaptation of his own award-winning play earned acting nominations for Hoffman and his three costars (Meryl Streep, Amy Adams, and Viola Davis) from both the Screen Actors Guild, and the Academy.”\u003c/p>\n\u003cp style=\"margin-left: 20px\">“Over the following years, Hoffman would continue to appear in a variety of interesting films, like \u003ci>Pirate Radio\u003c/i>, \u003ci>The Ides of March\u003c/i>, and \u003ci>Moneyball\u003c/i>. In 2012 he again collaborated with Paul Thomas Anderson, playing a cult leader in the drama \u003ci>The Master\u003c/i> opposite Joaquin Phoenix. For his work in that movie, Hoffman got a Best Supporting Actor nomination from both the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences.”\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/wsj-report-philip-seymour-hoffman-found-dead-in-new-york-1201082934/\">\u003ci>Variety\u003c/i>\u003c/a> notes that last year Hoffman “completed a 10-day substance abuse program for heroin. The actor later revealed that he had been addicted to the drug when he was younger but had been clean for over 20 years.”\u003c/p>\n\u003cp>\u003ci>The Times\u003c/i> says Hoffman has spoken in interviews about “falling off the wagon” last year after staying clean for 23 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/02/02/270599816/philip-seymour-hoffman-oscar-winner-found-dead-at-46\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So here’s the setup: It’s 1987. Frank, a convicted murderer, has escaped from a New Hampshire prison, and he’s holding Adele, a fragile divorcee, and her 12-year-old son, Henry, captive in their own house until they eat his chili.\u003c/p>\n\u003cp>Turns out it’s good chili — so good that it inspires Adele, whom the handsome convict has tied up very gently and tenderly, to reminisce about a conversation she and her son had about his sex education class. Seriously, it’s some good chili. And did I mention that Frank is handsome?\u003c/p>\n\u003cp>Later, Adele will free herself, and Frank — who must’ve been a big help around the prison — will start doing household chores. Changing the oil in the car, replacing the filter on the furnace, washing the floor and waxing it, teaching Henry (whom he calls Hank) to throw a baseball.\u003c/p>\n\u003cp>All of which is nothing next to what happens when a neighbor leaves a brimming bushel basket at their door. Soon he and Henry and Adele are all plunging hands into a big bowl of cut peaches — massaging them into submission, I guess.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=QOQL3Xi8dPE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At which point Frank says, “What I want to talk about is crust,” and there’s another montage of hands smushing sugar, flour and butter. Dough is rolled and piled high with filling, with half reserved for the moment when Frank guides Adele’s hands toward the pie plate and together, they, in his words, “put the roof on this house.”\u003c/p>\n\u003cp>At this point, Tobey Maguire — who appears in the film only as the voice of an adult Henry — tells us that Adele’s “hands started shaking beyond her control.”\u003c/p>\n\u003cp>And who could blame them? Hilarious, right? Except the movie is entirely straight-faced. I kept thinking, “The guy who made \u003cem>Juno\u003c/em> made this? The guy who made \u003cem>Up in the Air\u003c/em>?” It’s the sort of overcooked melodrama that used to be called a “woman’s picture,” though no one would call it that now for fear of insulting women.\u003c/p>\n\u003cp>Kate Winslet trembles vulnerably as Josh Brolin does the studly perfection thing, making it seem that all any woman really needs around the house is a convicted murderer. The filming is as polished as you’d expect from Jason Reitman, and parts of the picture are reasonably suspenseful. (Mostly that’s because the music keeps having conniptions every time Brolin comes into a room, but also because kidnapping stories rarely work out well.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Labor Day\u003c/em> may be filled with autumn’s falling leaves, but it makes sense that they’re bringing it out as a prelude to spring, for the sap — and I do mean sap — is rising. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+Home%2C+With+Mom+And+Her+Murderous+Beau&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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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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"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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"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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"radiolab": {
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"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": {
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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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"science-friday": {
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