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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"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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"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",
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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Folk Activist Pete Seeger, Icon Of Passion And Ideals, Dies At 94",
"headTitle": "Folk Activist Pete Seeger, Icon Of Passion And Ideals, Dies At 94 | KQED",
"content": "\u003cp>A tireless campaigner for his own vision of a utopia marked by peace and togetherness, ‘s tools were his songs, his voice, his enthusiasm and his musical instruments. A major advocate for the folk-style five-string banjo and one of the most prominent folk music icons of his generation, Seeger was also a political and environmental activist. He died Monday at age 94. His grandson, Kitama Cahill Jackson, confirmed Seegers death and said he died of natural causes.\u003c/p>\n\u003cp>Pete Seeger came by his beliefs honestly. His father, Charles Seeger, was an ethnomusicologist and a pioneering folkorist whose left-wing views got him into trouble at the University of California, Berkeley. Charles Seeger introduced his son to some of the most important musicians of the Depression era — including and Leadbelly and Woody Guthrie.\u003c/p>\n\u003cp>Seeger and Guthrie eventually became fast friends — though they didn’t agree on all things — and crisscrossed the country performing together. Seeger said that as early as 1941, they found themselves blacklisted as communists. Seeger actually was a member of the Communist Party in those early days, though he later said he quit after coming to understand the evils of Josef Stalin.\u003c/p>\n\u003cp>Following World War II and service entertaining the troops, Seeger teamed up with Lee Hays, Ronnie Gilbert and Fred Hellerman to form the astonishingly successful folk group . Ronnie Gilbert said that from the start, Seeger’s performances were transcendent — whether you were on stage with him or in the audience.\u003c/p>\n\u003cp>“You got the sense that he was saying and singing way beyond the moment that he was in, the place that he was in. Alone on a stage in front of thousands of people … everybody got it, everybody got his passion for music, his passion for being on the stage, making people sing, having people listen to each other’s music. He was a passionate person, and that was what people saw. People absorbed his passion and his ideals,” Gilbert says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tireless campaigner for his own vision of a utopia marked by peace and togetherness, ‘s tools were his songs, his voice, his enthusiasm and his musical instruments. A major advocate for the folk-style five-string banjo and one of the most prominent folk music icons of his generation, Seeger was also a political and environmental activist. He died Monday at age 94. His grandson, Kitama Cahill Jackson, confirmed Seegers death and said he died of natural causes.\u003c/p>\n\u003cp>Pete Seeger came by his beliefs honestly. His father, Charles Seeger, was an ethnomusicologist and a pioneering folkorist whose left-wing views got him into trouble at the University of California, Berkeley. Charles Seeger introduced his son to some of the most important musicians of the Depression era — including and Leadbelly and Woody Guthrie.\u003c/p>\n\u003cp>Seeger and Guthrie eventually became fast friends — though they didn’t agree on all things — and crisscrossed the country performing together. Seeger said that as early as 1941, they found themselves blacklisted as communists. Seeger actually was a member of the Communist Party in those early days, though he later said he quit after coming to understand the evils of Josef Stalin.\u003c/p>\n\u003cp>Following World War II and service entertaining the troops, Seeger teamed up with Lee Hays, Ronnie Gilbert and Fred Hellerman to form the astonishingly successful folk group . Ronnie Gilbert said that from the start, Seeger’s performances were transcendent — whether you were on stage with him or in the audience.\u003c/p>\n\u003cp>“You got the sense that he was saying and singing way beyond the moment that he was in, the place that he was in. Alone on a stage in front of thousands of people … everybody got it, everybody got his passion for music, his passion for being on the stage, making people sing, having people listen to each other’s music. He was a passionate person, and that was what people saw. People absorbed his passion and his ideals,” Gilbert says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Weavers’ version of Leadbelly’s “Goodnight Irene” hit the top of the pop charts in 1950. Other hits followed, including “On Top of Old Smokey,” “So Long (It’s Been Good to Know You)” and “Wimoweh.”\u003c/p>\n\u003cp>If The Weavers hit an emotional and cultural sweet spot in postwar America, the Red Scare quickly soured it. Seeger refused to answer questions before Congress in 1955 about his political beliefs and associations. He was held in contempt and nearly served a jail sentence before charges were finally dropped in 1962 on a technicality.\u003c/p>\n\u003cp>But his troubles with Congress finished The Weavers as a major touring and recording group, so Seeger went out on his own again. Shut out of the big gigs, he played coffeehouses, union halls and college campuses to support his family. His wife, Toshi, managed his affairs and raised their children in the cabin they had built in Beacon, N.Y.\u003c/p>\n\u003cp>He co-founded and wrote for \u003ci>Sing Out\u003c/i>, one of the first and most important magazines to grow out of the folk revival. He produced children’s songs and books. But his commitment to political and social causes never waned. Seeger sang and marched nationwide for civil rights and against the Vietnam War. As he told NPR in 1971, “Sometimes I think [about] that old saying,’The pen is mightier than the sword.’ Well, my one hope is the guitar is gonna be mightier than the bomb.”\u003c/p>\n\u003cp>In 1968 he went local, but, of course, in a big way. Upset at the filth clogging the Hudson River near his home, he spearheaded the building of the Sloop Clearwater, which volunteers sailed up and down the Hudson. Politicians and polluters had to take notice. Seeger, not surprisingly, saw a larger purpose: “Bringing these people together, all these people, is the essential thing, and this is what the Clearwater almost miraculously has started to do on the Hudson,” he said.\u003c/p>\n\u003cp>For all of his social activism, Seeger said more than once that if he had done nothing more than write his slim book How to Play the 5-String Banjo, his life’s work would have been complete. Seeger’s grandson Tao Rodriguez Seeger plays banjo and performed with his grandfather. He says the paperback, which is chock-full of chords and techniques, is a challenge.\u003c/p>\n\u003cp>“It’s not a thick book but it’s thick stuff. He doesn’t really explain it too well. It’s sort of quick, it’s got a little diagram, ‘Here’s how you do it.’ But it’s great. It’s an awesome resource. I have a copy,” Rodriguez Seeger says.\u003c/p>\n\u003cp>Not just through his books but also through his sheer force of presence, Seeger became a model for younger folk musicians. Singer and songwriter Tom Paxton said he learned invaluable lessons from Seeger about how to reach an audience. “Look ’em in the eye. Make a gesture of inclusion, which he did all the time. And above all, have a chorus,” Paxton says. “So I learned from Pete to have something for them to sing.”\u003c/p>\n\u003cp>Bringing people together and getting them to sing out may be one of Pete Seeger’s greatest legacies. But when it came to saving the world, Tao Rodriguez Seeger says, his grandfather ultimately seemed to question whether the guitar was mightier than the sword.\u003c/p>\n\u003cp>“[It] troubled him, troubled him deeply that technology was so advanced but our emotional state was so inadequate to cope, that with a push of a button, in a fit of rage, we could wipe ourselves off the face of the Earth. And he really wanted to fix that and always felt like he failed,” Rodriguez Seeger says.\u003c/p>\n\u003cp>But if Pete Seeger didn’t save the world, he certainly did change the lives of millions of people by leading them to sing, to take action and to at least consider his dream of what society could be.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.npr.org/blogs/therecord/2014/01/28/267488551/american-folk-singer-pete-seeger-dies-at-94\">NPR\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nothing exposes you like asking a tough question.\u003c/p>\n\u003cp>Like a boxer extending a jab, you reveal yourself in the moment, stepping aggressively to a subject in a way that also makes you vulnerable. Handle the moment badly, and like an off-balance prizefighter, you might be the one hugging the canvas after a knockout blow.\u003c/p>\n\u003cp>That’s a truth that emerged in recent days during two separate incidents at the Television Critics Association’s winter press tour — a twice–annual event where people who make television arrange long days of press conferences and cocktail parties where TV critics and reporters can ask questions about programming to come.\u003c/p>\n\u003cp>The setup is simple: Stars and producers sit on a stage in a huge meeting room and take questions from journalists who sit in the audience and are handed microphones. Usually, the biggest problem here is writers who forget to act like journalists, turned into fawning compliment machines by the aura of stars like Matthew McConaughey or Julia Roberts.\u003c/p>\n\u003cp>But occasionally, the effort to ask a tough question during a press conference filled with dozens of writers goes badly wrong, exposing the widening gulf between generations of journalists, the changing nature of arts criticism and the difficulty of expressing a complex thought in a 30-second turn at the microphone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jonathan Storm, a former TV critic at the \u003cem>Philadelphia Inquirer\u003c/em>, found himself on the wrong end of that dynamic when he asked MSNBC and \u003cem>Today\u003c/em> show anchor Tamron Hall how she balances her time among those two jobs for NBC and hosting a show called \u003cem>Deadline Crime\u003c/em> for Discovery channel’s Investigation Discovery.\u003c/p>\n\u003cp>Hall responded with a detailed story about how the show was inspired by her experience seeing her sister murdered; the anchor talked in a way that seemed heartfelt and emotional about guilt over once rejecting her sister for failing to disconnect from an abusive partner.\u003c/p>\n\u003cp>Storm’s response was to seek an answer to the question he actually asked: “That’s all very nice,” he said. “But can you explain the relationship between your job and NBC and your job at Discovery?”\u003c/p>\n\u003cp>The air seemed to go out of the room a bit as other critics immediately realized how far south this interaction was going. Hall seemed to struggle with the unexpected response: “Well, let me be clear,” she replied. “To say that it’s just all very nice, when I don’t know if you’ve had a sister found murdered, but I have. So it is not meant to be nice … “\u003c/p>\n\u003cp>The interaction inspired a flurry of tweets from other critics praising Hall and criticizing Storm. The Huffington Post wrote a story titled “Tamron Hall Reveals Details of Sister’s Murder, Gets Awful Response from Reporter,” while Mediaite’s story was headlined “\u003ca href=\"http://www.mediaite.com/online/msnbc%E2%80%99s-tamron-hall-opens-up-about-sister%E2%80%99s-murder-at-tv-event-gets-shocking-response/\" target=\"_blank\" rel=\"noopener\">MSNBC’s Tamron Hall Opens Up about Sister’s Murder at TV Event, Gets Shocking Response\u003c/a>.”\u003c/p>\n\u003cp>Storm, who retired from the \u003cem>Inquirer\u003c/em> in 2011 after 22 years, still writes as a freelance critic. He acknowledged he could have been more diplomatic in his response to Hall, but said he grew angry at what he felt was a “pre-programmed speech” the anchor had prepared to gain sympathy.\u003c/p>\n\u003cp>“I had the impression, if somebody had asked her what time is it [she would have given that speech],” said Storm, who reserves a special dislike for TV news anchors who include personal tragedies in their on-screen work.\u003c/p>\n\u003cp>He also noted that the audience at the press tour is no longer dominated by the old-school newspaper journalists who once filled the majority of Television Critics Association memberships. “It used to be [at TCA], you were in a room primarily filled with cynical reporters,” he added. “Now you’re in a room with a plurality of sympathetic fans. … I’ve learned there is a place for cynicism, but it shouldn’t necessarily rule [my thoughts] on the topic I’m covering.”\u003c/p>\n\u003cp>From my seat, it seemed Storm didn’t communicate what was really bothering him about what Hall said — in part because it is so difficult to communicate complex, controversial thoughts in this setting.\u003c/p>\n\u003cp>Tim Molloy, a writer for The Wrap website, found similar difficulties at a different press conference when trying to ask a question about how HBO’s sometimes explicit dramedy \u003cem>Girls\u003c/em> uses nudity.\u003c/p>\n\u003cp>He asked star Lena Dunham: “I don’t get the purpose of all of the nudity on the show, by you particularly, and I feel like I’m walking into a trap where you go, ‘Nobody complains about the nudity on \u003cem>Game of Thrones\u003c/em>,’ but I get why they are doing it. They are doing it to be salacious and, you know, titillate people. And your character is often naked just at random times for no reason.”\u003c/p>\n\u003cp>Dunham’s response was revealing while pushing back a little at the reporter: “It’s because it’s a realistic expression of what it’s like to be alive, I think, and I totally get it. If you are not into me, that’s your problem, and you are going to have to kind of work that out with … whatever professionals you’ve hired.”\u003c/p>\n\u003cp>But Dunham’s collaborators, executive producers Judd Apatow and Jenni Konner, were more pointed in their responses, with Apatow implying Molloy might feel bad about his own body and Konner admitting she was in a “rage spiral” over “this idea that you would talk to a woman like that and accuse a woman of showing her body too much.”\u003c/p>\n\u003cp>That’s not exactly what happened. Molloy was trying to start a conversation about how the show uses nudity. But by singling out Dunham’s nudity as particularly perplexing, he also seemed to be implying that because she doesn’t have the body of a supermodel, her nakedness wouldn’t be sexy and was shown onscreen “for no reason.”\u003c/p>\n\u003cp>I think \u003cem>Girls\u003c/em> deliberately uses the nudity of all its characters to push back against the unrealistic depictions of male and female bodies in other media. And I wish the star and producers hadn’t used an inartfully-phrased question to sidestep that valid and interesting conversation. Instead, they focused on putting down the writer, and the whole exchange became another story about a train-wreck moment during a press conference.\u003c/p>\n\u003cp>My own question about why \u003cem>Girls\u003c/em> seems to struggle with ethnic diversity, many months after Dunham admitted it’s an issue the show should address, seemed to go down easier.\u003c/p>\n\u003cp>“We didn’t add any regular cast members second season,” Dunham replied. “We were just trying to honor and serve the stories of the people that we had already introduced. And I think, third season, we are finally finding room to expand the world because we’ve sort of given you their backstories. We’ve given you their lives. But … I’ve learned so much in the past few years about, sort of, intersectionality, the way that feminism has underserved women of color. I really try to educate myself in those areas, and also, we try to just make choices that we think we never want to start a storyline that we are going to kind of let flitter off. So, now, we are finding ways to introduce people who are more lasting, because we are ready to kind of open up the worlds of these girls.”\u003c/p>\n\u003cp>The short version of that answer seemed to be: stay tuned. But that didn’t get turned into a story on AOL’s homepage in the way the dustup over nudity did.\u003c/p>\n\u003cp>The fact remains: There are few news events as odd and journalistically challenging as the TCA press tours. And as TV shows get more complex — while journalists covering them increasingly ride the line between independent critics and professional fans — our attempts to have real conversations about them will only get tougher.\u003c/p>\n\u003cp>Good thing the public gets to learn from our mistakes — even when the effort to push back on important questions gets lost in translation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c/p>\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=When+Tough+Questions+Go+Horribly+Wrong&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing exposes you like asking a tough question.\u003c/p>\n\u003cp>Like a boxer extending a jab, you reveal yourself in the moment, stepping aggressively to a subject in a way that also makes you vulnerable. Handle the moment badly, and like an off-balance prizefighter, you might be the one hugging the canvas after a knockout blow.\u003c/p>\n\u003cp>That’s a truth that emerged in recent days during two separate incidents at the Television Critics Association’s winter press tour — a twice–annual event where people who make television arrange long days of press conferences and cocktail parties where TV critics and reporters can ask questions about programming to come.\u003c/p>\n\u003cp>The setup is simple: Stars and producers sit on a stage in a huge meeting room and take questions from journalists who sit in the audience and are handed microphones. Usually, the biggest problem here is writers who forget to act like journalists, turned into fawning compliment machines by the aura of stars like Matthew McConaughey or Julia Roberts.\u003c/p>\n\u003cp>But occasionally, the effort to ask a tough question during a press conference filled with dozens of writers goes badly wrong, exposing the widening gulf between generations of journalists, the changing nature of arts criticism and the difficulty of expressing a complex thought in a 30-second turn at the microphone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jonathan Storm, a former TV critic at the \u003cem>Philadelphia Inquirer\u003c/em>, found himself on the wrong end of that dynamic when he asked MSNBC and \u003cem>Today\u003c/em> show anchor Tamron Hall how she balances her time among those two jobs for NBC and hosting a show called \u003cem>Deadline Crime\u003c/em> for Discovery channel’s Investigation Discovery.\u003c/p>\n\u003cp>Hall responded with a detailed story about how the show was inspired by her experience seeing her sister murdered; the anchor talked in a way that seemed heartfelt and emotional about guilt over once rejecting her sister for failing to disconnect from an abusive partner.\u003c/p>\n\u003cp>Storm’s response was to seek an answer to the question he actually asked: “That’s all very nice,” he said. “But can you explain the relationship between your job and NBC and your job at Discovery?”\u003c/p>\n\u003cp>The air seemed to go out of the room a bit as other critics immediately realized how far south this interaction was going. Hall seemed to struggle with the unexpected response: “Well, let me be clear,” she replied. “To say that it’s just all very nice, when I don’t know if you’ve had a sister found murdered, but I have. So it is not meant to be nice … “\u003c/p>\n\u003cp>The interaction inspired a flurry of tweets from other critics praising Hall and criticizing Storm. The Huffington Post wrote a story titled “Tamron Hall Reveals Details of Sister’s Murder, Gets Awful Response from Reporter,” while Mediaite’s story was headlined “\u003ca href=\"http://www.mediaite.com/online/msnbc%E2%80%99s-tamron-hall-opens-up-about-sister%E2%80%99s-murder-at-tv-event-gets-shocking-response/\" target=\"_blank\" rel=\"noopener\">MSNBC’s Tamron Hall Opens Up about Sister’s Murder at TV Event, Gets Shocking Response\u003c/a>.”\u003c/p>\n\u003cp>Storm, who retired from the \u003cem>Inquirer\u003c/em> in 2011 after 22 years, still writes as a freelance critic. He acknowledged he could have been more diplomatic in his response to Hall, but said he grew angry at what he felt was a “pre-programmed speech” the anchor had prepared to gain sympathy.\u003c/p>\n\u003cp>“I had the impression, if somebody had asked her what time is it [she would have given that speech],” said Storm, who reserves a special dislike for TV news anchors who include personal tragedies in their on-screen work.\u003c/p>\n\u003cp>He also noted that the audience at the press tour is no longer dominated by the old-school newspaper journalists who once filled the majority of Television Critics Association memberships. “It used to be [at TCA], you were in a room primarily filled with cynical reporters,” he added. “Now you’re in a room with a plurality of sympathetic fans. … I’ve learned there is a place for cynicism, but it shouldn’t necessarily rule [my thoughts] on the topic I’m covering.”\u003c/p>\n\u003cp>From my seat, it seemed Storm didn’t communicate what was really bothering him about what Hall said — in part because it is so difficult to communicate complex, controversial thoughts in this setting.\u003c/p>\n\u003cp>Tim Molloy, a writer for The Wrap website, found similar difficulties at a different press conference when trying to ask a question about how HBO’s sometimes explicit dramedy \u003cem>Girls\u003c/em> uses nudity.\u003c/p>\n\u003cp>He asked star Lena Dunham: “I don’t get the purpose of all of the nudity on the show, by you particularly, and I feel like I’m walking into a trap where you go, ‘Nobody complains about the nudity on \u003cem>Game of Thrones\u003c/em>,’ but I get why they are doing it. They are doing it to be salacious and, you know, titillate people. And your character is often naked just at random times for no reason.”\u003c/p>\n\u003cp>Dunham’s response was revealing while pushing back a little at the reporter: “It’s because it’s a realistic expression of what it’s like to be alive, I think, and I totally get it. If you are not into me, that’s your problem, and you are going to have to kind of work that out with … whatever professionals you’ve hired.”\u003c/p>\n\u003cp>But Dunham’s collaborators, executive producers Judd Apatow and Jenni Konner, were more pointed in their responses, with Apatow implying Molloy might feel bad about his own body and Konner admitting she was in a “rage spiral” over “this idea that you would talk to a woman like that and accuse a woman of showing her body too much.”\u003c/p>\n\u003cp>That’s not exactly what happened. Molloy was trying to start a conversation about how the show uses nudity. But by singling out Dunham’s nudity as particularly perplexing, he also seemed to be implying that because she doesn’t have the body of a supermodel, her nakedness wouldn’t be sexy and was shown onscreen “for no reason.”\u003c/p>\n\u003cp>I think \u003cem>Girls\u003c/em> deliberately uses the nudity of all its characters to push back against the unrealistic depictions of male and female bodies in other media. And I wish the star and producers hadn’t used an inartfully-phrased question to sidestep that valid and interesting conversation. Instead, they focused on putting down the writer, and the whole exchange became another story about a train-wreck moment during a press conference.\u003c/p>\n\u003cp>My own question about why \u003cem>Girls\u003c/em> seems to struggle with ethnic diversity, many months after Dunham admitted it’s an issue the show should address, seemed to go down easier.\u003c/p>\n\u003cp>“We didn’t add any regular cast members second season,” Dunham replied. “We were just trying to honor and serve the stories of the people that we had already introduced. And I think, third season, we are finally finding room to expand the world because we’ve sort of given you their backstories. We’ve given you their lives. But … I’ve learned so much in the past few years about, sort of, intersectionality, the way that feminism has underserved women of color. I really try to educate myself in those areas, and also, we try to just make choices that we think we never want to start a storyline that we are going to kind of let flitter off. So, now, we are finding ways to introduce people who are more lasting, because we are ready to kind of open up the worlds of these girls.”\u003c/p>\n\u003cp>The short version of that answer seemed to be: stay tuned. But that didn’t get turned into a story on AOL’s homepage in the way the dustup over nudity did.\u003c/p>\n\u003cp>The fact remains: There are few news events as odd and journalistically challenging as the TCA press tours. And as TV shows get more complex — while journalists covering them increasingly ride the line between independent critics and professional fans — our attempts to have real conversations about them will only get tougher.\u003c/p>\n\u003cp>Good thing the public gets to learn from our mistakes — even when the effort to push back on important questions gets lost in translation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Given the feel-good themes of the average kids’ movie — be yourself, follow the golden rule, love each other, \u003cem>blah blah blah\u003c/em> — it’s refreshing to see an animated comedy chuck that guck and focus on a real jerk. Not a misunderstood Princess Elsa, or a Wreck-It Ralph with a heart of gold, but an out-and-out, two-bit, sell-you-down-the-river-if-it-would-save-his-own-fur shyster.\u003c/p>\n\u003cp>The sour (and strangely purple) squirrel at the center of \u003cem>The Nut Job\u003c/em> is appropriately named Surly, in fact. He’s a pariah among the diverse woodland creatures living in the refuge of a small park in the middle of the busy metropolis of Oakton. And unlike your diligent everyday squirrel, busily storing up food for the winter, Surly — voiced by \u003cem>Arrested Development\u003c/em>‘s Will Arnett as a mix of hard-bitten loner and slick wise guy — lives by his wits from score to score, with no help from anyone else unless you count the bumbling assistance of Buddy, his rat sidekick. (And it’s clear that even Surly doesn’t really count him.)\u003c/p>\n\u003cp>Buddy’s adoration of Surly, of course, and Surly’s tolerance for the goofy rat, are there to telegraph that, hey, under that squirrel’s prickly exterior he’s actually a good guy. And for \u003cem>The Nut Job\u003c/em> to get to the heartwarming place it must, Surly surely can’t stay selfish to the end, right? Still, to the movie’s credit, it keeps its antihero’s motives anything but altruistic for quite a while.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=fq4qP2oSpIA\u003c/p>\n\u003cp>When his scheme to hit a nearby street vendor and take him for all the nuts in his cart collides with the plans of Andie (voiced by Katherine Heigl) and Grayson (voiced by Brendan Fraser) — two squirrels sent by the rest of the animals to pull off the same theft on behalf of the larger critter community — Surly refuses to share anything. Of course, his machinations lead to a spectacularly choreographed catastrophe that destroys even the inadequate food supply the park residents have managed to, um, squirrel away. The community’s commanding leader, a raccoon voiced by Liam Neeson, calls a vote, and Surly is banished to the unforgiving city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For all its genuine exploration of the costs and benefits of the individual’s relationship with the collective — and later, the true nature of heroism — \u003cem>The Nut Job\u003c/em> is basically a comedy for kids, an acorn-in-a-slingshot picture that targets the lowest common denominator and hits hard. There are bad puns about nuts (almost none of which work), music choices that are both anachronistic (it’s set in the 1930s) and instantly dated (“Gangnam Style”?), and rote gags involving animals who easily survive electrocution or brickbats; the latter serve mostly to complicate the stakes, which elsewhere are literally life and death.\u003c/p>\n\u003cp>Where the movie finds its paws is in its old-fashioned heist plot, kicked off when Surly discovers the ultimate score in a store that sells nuts, and only nuts — a shop that’s also the scene, coincidentally, of another robbery-in-the-making, this one involving humans using the site’s basement to dig through to an adjacent bank. Once Surly and Buddy case the joint, develop a plan, and deal with the inevitable surprises, \u003cem>The Nut Job\u003c/em> could be any classic caper flick.\u003c/p>\n\u003cp>There’s the standard motley crew of conspirators, here comprised of squirrels, gophers, a rat, a mole and a pug — owned by the human leading the bank job — who just wants to get in on the fun. There’s excitement over the risk and the potential reward, a betrayal or two, and some legitimately thrilling set pieces as the complications in both heists add up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, there’s the stirring question posed to the once-independent con artist when his heart begins to soften — does he take the loot all for himself or help the community? If you’re able to forgive the movie’s occasionally nutty (and groan-worthy) jokes, it delivers an interesting and satisfying answer. \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=A+Churl+Of+A+Squirrel%2C+On+The+Make+In+The+Big+City&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For all its genuine exploration of the costs and benefits of the individual’s relationship with the collective — and later, the true nature of heroism — \u003cem>The Nut Job\u003c/em> is basically a comedy for kids, an acorn-in-a-slingshot picture that targets the lowest common denominator and hits hard. There are bad puns about nuts (almost none of which work), music choices that are both anachronistic (it’s set in the 1930s) and instantly dated (“Gangnam Style”?), and rote gags involving animals who easily survive electrocution or brickbats; the latter serve mostly to complicate the stakes, which elsewhere are literally life and death.\u003c/p>\n\u003cp>Where the movie finds its paws is in its old-fashioned heist plot, kicked off when Surly discovers the ultimate score in a store that sells nuts, and only nuts — a shop that’s also the scene, coincidentally, of another robbery-in-the-making, this one involving humans using the site’s basement to dig through to an adjacent bank. Once Surly and Buddy case the joint, develop a plan, and deal with the inevitable surprises, \u003cem>The Nut Job\u003c/em> could be any classic caper flick.\u003c/p>\n\u003cp>There’s the standard motley crew of conspirators, here comprised of squirrels, gophers, a rat, a mole and a pug — owned by the human leading the bank job — who just wants to get in on the fun. There’s excitement over the risk and the potential reward, a betrayal or two, and some legitimately thrilling set pieces as the complications in both heists add up.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Of course, there’s the stirring question posed to the once-independent con artist when his heart begins to soften — does he take the loot all for himself or help the community? If you’re able to forgive the movie’s occasionally nutty (and groan-worthy) jokes, it delivers an interesting and satisfying answer. \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=A+Churl+Of+A+Squirrel%2C+On+The+Make+In+The+Big+City&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jack Ryan Gets A Makeover, And A Quick Trip To Moscow",
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"content": "\u003cp>A franchise is what we used to call a Burger King or a Shell station, but nowadays the word appears more often in relation to movies: the \u003cem>Star Wars\u003c/em> franchise, the \u003cem>Hunger Games\u003c/em> franchise, the Jack Ryan franchise — or in the case of \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> the Jack Ryan franchise reboot. I don’t know what’s more depressing: that what fires up studio execs is the hunt for a new franchise or that critics have adopted this business lingo uncritically.\u003c/p>\n\u003cp>Maybe a business reporter would be the best person to talk about \u003cem>Jack Ryan: Shadow Recruit\u003c/em>. From an artistic standpoint, I found it competent, moderately suspenseful and without a single surprise — apart from the fact that its director is Kenneth Branagh, who has come a long, grim way from his film directing debut in the late ’80s, Shakespeare’s \u003cem>Henry V\u003c/em>. Come to think of it, that was a remake, and the Henry character appeared in two other plays — though I’m confident Shakespeare never referred to “the Henry franchise.”\u003c/p>\n\u003cp>And Jack Ryan is no Henry. Created by the late novelist Tom Clancy, he’s a Wall Street guy turned CIA agent turned action hero. He has appeared in four big movies: \u003cem>The Hunt for Red October\u003c/em> starred Alec Baldwin, who gave up Ryan and was replaced by Harrison Ford in \u003cem>Patriot Games\u003c/em> and \u003cem>Clear and Present Danger\u003c/em>. Then came an attempted reboot called \u003cem>The Sum of All Fears\u003c/em> with Ben Affleck, which did pretty well but didn’t lead to more movies.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=K9KAnx4EvaE\u003c/p>\n\u003cp>\u003cem>Jack Ryan: Shadow Recruit\u003c/em> launches a new storyline, with a young Jack played by Chris Pine, who’s also the young Captain Kirk in the reboot of the \u003cem>Star Trek\u003c/em> franchise for the same studio, Paramount. He’s the go-to franchise guy, I guess, though I’m not sure why. He’s a good enough actor — he seethes credibly and moves well, but there’s nothing funky or idiosyncratic about him. He’s just a guy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie begins with Ryan as a student at the London School of Economics when the planes hit the World Trade Center. So he joins the Marines and gets shot down in Afghanistan. As he’s rolled into the emergency room, a Marine says Ryan personally dragged two survivors out of the plane. “With a broken back?” asks the doctor. The message is: This guy isn’t just an economics wonk. He’s \u003cem>the man\u003c/em>.\u003c/p>\n\u003cp>As Ryan struggles to walk at Walter Reed Medical Center, Kevin Costner shows up and offers him a CIA job — undercover in a Wall Street firm. Fast-forward to 10 years later, when he uncovers a Russian plot to destroy the U.S economy. In no time he’s dispatched to Moscow to confront the likely mastermind, played by Branagh himself.\u003c/p>\n\u003cp>The movie is slow and plodding until an attempt on Ryan’s life and the first brutal gun-and-fisticuffs scene, shot mostly in jangly close-ups. Then Ryan’s doctor girlfriend, played by Keira Knightley, shows up in Moscow because she doesn’t know he’s CIA and thinks he’s having an affair. She’s quickly embroiled in the cloak-and-dagger stuff, leading to a quarrel that’s the only memorable scene in the picture, thanks in part to Costner’s expert underplaying.\u003c/p>\n\u003cp>That scene is the start of a long and clever third act that begins in a fancy Moscow restaurant and ends in the Hudson River, involving decent fights, noisy car chases and the usual ticking time bomb. I found a lot of holes in the plot, though to point them out here would spoil too much. But espionage movies are often fun — it’s the \u003cem>brainy\u003c/em> popcorn genre — and \u003cem>Jack Ryan: Shadow Recruit\u003c/em> hits its marks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The problem is the marks themselves. They’re too low. \u003cem>Mission: Impossible,\u003c/em> the \u003cem>Bourne\u003c/em> series, TV’s \u003cem>24 \u003c/em>— they’re all more gripping, and the last \u003cem>Mission: Impossible\u003c/em> movie, Brad Bird’s \u003cem>Ghost Protocol,\u003c/em> was sensational. Branagh brings no style to \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> and no heart. For once that business word franchise seems all too apt. \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=Jack+Ryan+Gets+A+Makeover%2C+And+A+Quick+Trip+To+Moscow&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A franchise is what we used to call a Burger King or a Shell station, but nowadays the word appears more often in relation to movies: the \u003cem>Star Wars\u003c/em> franchise, the \u003cem>Hunger Games\u003c/em> franchise, the Jack Ryan franchise — or in the case of \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> the Jack Ryan franchise reboot. I don’t know what’s more depressing: that what fires up studio execs is the hunt for a new franchise or that critics have adopted this business lingo uncritically.\u003c/p>\n\u003cp>Maybe a business reporter would be the best person to talk about \u003cem>Jack Ryan: Shadow Recruit\u003c/em>. From an artistic standpoint, I found it competent, moderately suspenseful and without a single surprise — apart from the fact that its director is Kenneth Branagh, who has come a long, grim way from his film directing debut in the late ’80s, Shakespeare’s \u003cem>Henry V\u003c/em>. Come to think of it, that was a remake, and the Henry character appeared in two other plays — though I’m confident Shakespeare never referred to “the Henry franchise.”\u003c/p>\n\u003cp>And Jack Ryan is no Henry. Created by the late novelist Tom Clancy, he’s a Wall Street guy turned CIA agent turned action hero. He has appeared in four big movies: \u003cem>The Hunt for Red October\u003c/em> starred Alec Baldwin, who gave up Ryan and was replaced by Harrison Ford in \u003cem>Patriot Games\u003c/em> and \u003cem>Clear and Present Danger\u003c/em>. Then came an attempted reboot called \u003cem>The Sum of All Fears\u003c/em> with Ben Affleck, which did pretty well but didn’t lead to more movies.\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/K9KAnx4EvaE'\n title='//www.youtube.com/embed/K9KAnx4EvaE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Jack Ryan: Shadow Recruit\u003c/em> launches a new storyline, with a young Jack played by Chris Pine, who’s also the young Captain Kirk in the reboot of the \u003cem>Star Trek\u003c/em> franchise for the same studio, Paramount. He’s the go-to franchise guy, I guess, though I’m not sure why. He’s a good enough actor — he seethes credibly and moves well, but there’s nothing funky or idiosyncratic about him. He’s just a guy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie begins with Ryan as a student at the London School of Economics when the planes hit the World Trade Center. So he joins the Marines and gets shot down in Afghanistan. As he’s rolled into the emergency room, a Marine says Ryan personally dragged two survivors out of the plane. “With a broken back?” asks the doctor. The message is: This guy isn’t just an economics wonk. He’s \u003cem>the man\u003c/em>.\u003c/p>\n\u003cp>As Ryan struggles to walk at Walter Reed Medical Center, Kevin Costner shows up and offers him a CIA job — undercover in a Wall Street firm. Fast-forward to 10 years later, when he uncovers a Russian plot to destroy the U.S economy. In no time he’s dispatched to Moscow to confront the likely mastermind, played by Branagh himself.\u003c/p>\n\u003cp>The movie is slow and plodding until an attempt on Ryan’s life and the first brutal gun-and-fisticuffs scene, shot mostly in jangly close-ups. Then Ryan’s doctor girlfriend, played by Keira Knightley, shows up in Moscow because she doesn’t know he’s CIA and thinks he’s having an affair. She’s quickly embroiled in the cloak-and-dagger stuff, leading to a quarrel that’s the only memorable scene in the picture, thanks in part to Costner’s expert underplaying.\u003c/p>\n\u003cp>That scene is the start of a long and clever third act that begins in a fancy Moscow restaurant and ends in the Hudson River, involving decent fights, noisy car chases and the usual ticking time bomb. I found a lot of holes in the plot, though to point them out here would spoil too much. But espionage movies are often fun — it’s the \u003cem>brainy\u003c/em> popcorn genre — and \u003cem>Jack Ryan: Shadow Recruit\u003c/em> hits its marks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The problem is the marks themselves. They’re too low. \u003cem>Mission: Impossible,\u003c/em> the \u003cem>Bourne\u003c/em> series, TV’s \u003cem>24 \u003c/em>— they’re all more gripping, and the last \u003cem>Mission: Impossible\u003c/em> movie, Brad Bird’s \u003cem>Ghost Protocol,\u003c/em> was sensational. Branagh brings no style to \u003cem>Jack Ryan: Shadow Recruit,\u003c/em> and no heart. For once that business word franchise seems all too apt. \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=Jack+Ryan+Gets+A+Makeover%2C+And+A+Quick+Trip+To+Moscow&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week the long-running comedy show \u003cem>Saturday Night Live\u003c/em> \u003ca href=\"http://www.npr.org/blogs/monkeysee/2014/01/08/260736176/saturday-night-live-takes-a-very-important-first-step\">hired Sasheer Zamata\u003c/a> as a new cast member. The show had come under criticism for its lack of diversity, especially its lack of black women; Zamata will be the show’s first female African-American cast member in six years.\u003c/p>\n\u003cp>When news of Zamata’s hiring broke, it was met in many circles with equal parts excitement and trepidation — the possibilities of a range of new, funny, strange black female characters not played by Kenan-Thompson-in-a-dress, up against the reality that whatever role she is playing, Zamata’s debut will mean she’s always performing the role of SNL’s Black Woman, and she faces the burden of playing within or against the history of what that role has meant.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=jI_SFm-txRI&w=480&h=270]\u003c/p>\n\u003cp>In thinking about that complicated and also, hopefully, joyful and rewarding space she will occupy, I was reminded of one of my favorite story collections. Asali Solomon’s \u003cem>Get Down \u003c/em>is a book that understands the degree to which race and racial identity are so often about performance.\u003c/p>\n\u003cp>In the opening story, “Twelve Takes Thea,” Thea and Nadja struggle with the pressure and suspicion that accompanies being the only black girls at a wealthy white prep school. Thea, awkward and uncertain, is at home called “Jane” by her older brother, who taunts her for being too white. At school, she’s treated as an emissary from a land of urban danger, and often confused for her bolder friend Nadja, so that their friendship means their two distinct identities collapse into their role as their grade’s black girls. When Nadja leaves school and a new black classmate arrives, the internal and external pressure Thea feels to befriend her twists itself into a cruelty that Thea believes is the only way she can differentiate herself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, in “The Star of the Story\u003cem>,”\u003c/em> Solomon explores the heartbreaking space between the people we are, the people we wish to be and the stories we tell about ourselves. Solomon writes “It was during that time, in Eduardo’s arms, that Akousa came into one of her favorite selves, an Afrocentric Lola Falana. … She shoplifted bright, beaded, slinky things from Macy’s and wore strappy sandals in the dead of February.”\u003c/p>\n\u003cp>Akousa is not the only character in the collection drawn to the idea that a new self can be as simple as a costume change or a willful reinvention. Solomon’s characters are aware of the ways in which they are weird and quirky and lonely and awkward and searching and human. They are aware of the ways in which they are never far from their histories, and never free from the prisms through which they are viewed.\u003c/p>\n\u003cp>Race is one thematic link of the collection, and it is given its due complexity. But the thread that ultimately ties these stories together, and these characters to readers, is the raw desire for genuine human connection in the face of everything — race included — that seems determined to sabotage it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Danielle Evans’s latest collection of short stories is \u003ci>Before You Suffocate Your Own Fool Self\u003c/i>. \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=As+Zamata+Joins+%27SNL%2C%27+A+Look+At+%E2%80%94+And+Beyond+%E2%80%94+The+Prism+Of+Race&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Saturday Night Live\u003c/em> recently announced that they were hiring Sasheer Zamata, the first black woman to join the cast in six years. Author Danielle Evans recommends a book that can give readers an idea of how Zamata might feel: \u003cem>Get Down\u003c/em>, a short story collection by Asali Solomon.",
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"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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