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"content": "\u003cp>The truth—societal truth, institutional truth, individual truth—is often concealed and camouflaged. History is written by the winners and all that. It occurs to me that June, which is celebrated as Pride Month, could also be called Tell Your Truth Month.\u003c/p>\n\u003cp>This week’s movie picks speak directly to the risk, joy and necessity of being true to yourself. Live large.\u003c/p>\n\u003cfigure id=\"attachment_13882451\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/AheadOfTheCurve.jpg\" alt=\"\" width=\"832\" height=\"468\" class=\"size-full wp-image-13882451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve.jpg 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/AheadOfTheCurve-768x432.jpg 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">From Jen Rainin’s ‘Ahead of the Curve.’ \u003ccite>(Courtesy Frameline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003ca href=\"https://frameline.org/festival\" rel=\"noopener noreferrer\" target=\"_blank\">Frameline44 Pride Showcase\u003c/a>\u003cbr>\nJune 25–28\u003c/b>\u003cbr>\nSan Francisco’s expansive LGBTQ+ film festival has been downsized and (largely) deployed online this year on account of the pandemic. The bash opens Thursday, June 25 with a free screening of Ronald Chase’s 1971 short \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/parade\" rel=\"noopener noreferrer\" target=\"_blank\">Parade\u003c/a>\u003c/em>, which documents the city’s first sanctioned Gay Pride Parade. (A Q&A will follow the 6pm screening on opening night, though the film—like almost everything in the lineup—can be viewed anytime during the four-day weekend.)\u003c/p>\n\u003cp>Jen Rainin’s brand new lesbian history, \u003cem>Ahead of the Curve\u003c/em>, tracing the history of \u003cem>Curve\u003c/em> magazine through founder Franco Stevens and her contemporaries, screens Saturday, June 27 at the \u003ca href=\"https://frameline.org/festival/film-guide/ahead-of-the-curve-drive-in\" rel=\"noopener noreferrer\" target=\"_blank\">West Wind Solano Drive-In\u003c/a> in Concord and \u003ca href=\"https://frameline.org/festival/film-guide/ahead-of-the-curve\" rel=\"noopener noreferrer\" target=\"_blank\">online\u003c/a>. On the cusp of its HBO premiere, the new pulse-pounding verité documentary by David France, \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/welcome-to-chechnya\" rel=\"noopener noreferrer\" target=\"_blank\">Welcome to Chechnya\u003c/a>\u003c/em>, screens digitally along with a June 27 Q&A.\u003c/p>\n\u003cp>The 2020 Showcase wraps with Thom Fitzgerald’s latest guerrilla attack on the culture wars, \u003cem>\u003ca href=\"https://frameline.org/festival/film-guide/stage-mother\" rel=\"noopener noreferrer\" target=\"_blank\">Stage Mother\u003c/a>\u003c/em> (Sunday, June 28), which hands the keys of a San Francisco drag cabaret to a conservative Texas choir director (Jacki Weaver). Can I get a witness?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/ysbX6JUlaEc\u003c/p>\n\u003cp>\u003cb>\u003cem>Disclosure\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://www.netflix.com/title/81284247\" rel=\"noopener noreferrer\" target=\"_blank\">Netflix\u003c/a>\u003cbr>\nThe ways in which mainstream movies and television portray one or another minority group has become an accessible, entertaining documentary genre. Trans people take the spotlight and \u003cem>all\u003c/em> the interviews in Sam Feder’s incisive film. Trans representation is a complicated subject—what were viewed as advances in visibility 25 years ago, from \u003cem>The Crying Game\u003c/em> to trans guests on “The Jerry Springer Show,” are now cringe-worthy—but the commentary (from Laverne Cox, Candis Cayne and several others) is insightful and nuanced.\u003c/p>\n\u003cp>The film smoothly moves through three stages of the depiction of trans people onscreen: Silent Era stereotypes, sensationalist tropes (murder victim, deviant killer or deceptive coward whose disclosure of his/her “secret” makes cis people vomit or injure the “freak”) and recent screen representations. It’s worth noting that television (including Netflix, most prominently) has outpaced film in sensitive, accurate portrayals of trans people. On the eve of Frameline44 Pride Showcase, a conversation among the filmmakers and many of the interviewees in \u003ci>Disclosure\u003c/i> takes place \u003ca href=\"https://frameline.org/festival/film-guide/disclosure\" rel=\"noopener noreferrer\" target=\"_blank\">online\u003c/a> at 6pm on Wednesday, June 24.\u003c/p>\n\u003cp>https://youtu.be/bOU_Pghu6T0\u003c/p>\n\u003cp>\u003cb>\u003cem>Aviva\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/aviva/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a> and VOD\u003cbr>\nIf you’re a sucker for dancing in the streets of Paris and New York, Boaz Yakin’s boundary-crossing independent feature will hook you within minutes. But before those first steps off the straight and narrow barré, \u003cem>Aviva\u003c/em> tells us up front that it’s not interested in the artifice of tears-and-torment romantic drama.\u003c/p>\n\u003cp>The opening shot is of the cameras, and we’re quickly introduced to the camerapeople. Then a naked woman on a bed looks into the lens and informs us she’s a dancer who is acting. (Yakin and company decided this strategy was preferable to casting actors and asking them to dance.) \u003c/p>\n\u003cp>Yakin’s kinetic, sexually explicit evocation of a long-distance relationship goes even further, though. Each of the lovers (Aviva and Eden) is played by two characters to express and explore their feminine and masculine sides. This radical yet oddly accessible idea proves liberating for both the filmmaker and the viewer.\u003c/p>\n\u003cp>\u003cem>Aviva\u003c/em> doesn’t work at every amped-up moment, but it’s one of the most alive and probing films you’ll see all year. The Smith Rafael Film Center hosts a livestream conversation with director Boaz Yakin and Daniel Gillies at 7pm on Saturday, June 27. Come for the dancing, stay for the honesty.\u003c/p>\n\u003cp>https://youtu.be/wtWSyFNT9qY\u003c/p>\n\u003cp>\u003cb>\u003cem>Mr. Jones\u003c/em>\u003c/b>\u003cbr>\nVOD\u003cbr>\nWe can only imagine the raucous screening of \u003cem>Stage Mother\u003c/em> (see above) that would have rocked the Castro sans COVID-19. For different reasons, it’s an enormous shame that Agnieszka Holland’s epic yet personal \u003cem>Mr. Jones\u003c/em> was deprived of a big-screen run. (It was scheduled to open April 10 at a Landmark house).\u003c/p>\n\u003cp>The Polish director’s best work (\u003cem>Angry Harvest\u003c/em>; \u003cem>Europa, Europa\u003c/em>; \u003cem>In Darkness\u003c/em>) is set amid the dark shadows of World War II. \u003cem>Mr. Jones\u003c/em> unfolds in the murky prelude, when Welsh journalist Garth Jones (a very good James Norton) journeys from the cozy confines of 1933 London to paranoid Moscow to the snow-blasted Ukraine, where Stalin is wantonly starving millions in the Holodomor.\u003c/p>\n\u003cp>This extraordinary film works as both a riveting saga of one man’s conscience and a wrenching exposé of the cruel chasm that separates the universe’s masters from the masses. It resonates with viewers disgusted with politicians’ cries of “fake news” and pampered, compromised Beltway journalists—represented here by the \u003cem>New York Times\u003c/em>’ dissolute Moscow correspondent, Pulitzer Prize-winner Walter Duranty (Peter Sarsgaard in another delicious, brilliant performance).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the exquisite monochrome renderings of Ukrainian suffering to the piercing moments of professional sacrifice, \u003cem>Mr. Jones\u003c/em> is a declaration of truth camouflaged as a work of art. It shouldn’t slip through the cracks.\u003c/p>\n\n",
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On the eve of Frameline44 Pride Showcase, a conversation among the filmmakers and many of the interviewees in \u003ci>Disclosure\u003c/i> takes place \u003ca href=\"https://frameline.org/festival/film-guide/disclosure\" rel=\"noopener noreferrer\" target=\"_blank\">online\u003c/a> at 6pm on Wednesday, June 24.\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/bOU_Pghu6T0'\n title='//www.youtube.com/embed/bOU_Pghu6T0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Aviva\u003c/em>\u003c/b>\u003cbr>\n\u003ca href=\"https://rafaelfilm.cafilm.org/aviva/\" rel=\"noopener noreferrer\" target=\"_blank\">Rafael@Home\u003c/a> and VOD\u003cbr>\nIf you’re a sucker for dancing in the streets of Paris and New York, Boaz Yakin’s boundary-crossing independent feature will hook you within minutes. But before those first steps off the straight and narrow barré, \u003cem>Aviva\u003c/em> tells us up front that it’s not interested in the artifice of tears-and-torment romantic drama.\u003c/p>\n\u003cp>The opening shot is of the cameras, and we’re quickly introduced to the camerapeople. Then a naked woman on a bed looks into the lens and informs us she’s a dancer who is acting. (Yakin and company decided this strategy was preferable to casting actors and asking them to dance.) \u003c/p>\n\u003cp>Yakin’s kinetic, sexually explicit evocation of a long-distance relationship goes even further, though. Each of the lovers (Aviva and Eden) is played by two characters to express and explore their feminine and masculine sides. This radical yet oddly accessible idea proves liberating for both the filmmaker and the viewer.\u003c/p>\n\u003cp>\u003cem>Aviva\u003c/em> doesn’t work at every amped-up moment, but it’s one of the most alive and probing films you’ll see all year. The Smith Rafael Film Center hosts a livestream conversation with director Boaz Yakin and Daniel Gillies at 7pm on Saturday, June 27. Come for the dancing, stay for the honesty.\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/wtWSyFNT9qY'\n title='//www.youtube.com/embed/wtWSyFNT9qY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Mr. Jones\u003c/em>\u003c/b>\u003cbr>\nVOD\u003cbr>\nWe can only imagine the raucous screening of \u003cem>Stage Mother\u003c/em> (see above) that would have rocked the Castro sans COVID-19. For different reasons, it’s an enormous shame that Agnieszka Holland’s epic yet personal \u003cem>Mr. Jones\u003c/em> was deprived of a big-screen run. (It was scheduled to open April 10 at a Landmark house).\u003c/p>\n\u003cp>The Polish director’s best work (\u003cem>Angry Harvest\u003c/em>; \u003cem>Europa, Europa\u003c/em>; \u003cem>In Darkness\u003c/em>) is set amid the dark shadows of World War II. \u003cem>Mr. Jones\u003c/em> unfolds in the murky prelude, when Welsh journalist Garth Jones (a very good James Norton) journeys from the cozy confines of 1933 London to paranoid Moscow to the snow-blasted Ukraine, where Stalin is wantonly starving millions in the Holodomor.\u003c/p>\n\u003cp>This extraordinary film works as both a riveting saga of one man’s conscience and a wrenching exposé of the cruel chasm that separates the universe’s masters from the masses. It resonates with viewers disgusted with politicians’ cries of “fake news” and pampered, compromised Beltway journalists—represented here by the \u003cem>New York Times\u003c/em>’ dissolute Moscow correspondent, Pulitzer Prize-winner Walter Duranty (Peter Sarsgaard in another delicious, brilliant performance).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the exquisite monochrome renderings of Ukrainian suffering to the piercing moments of professional sacrifice, \u003cem>Mr. Jones\u003c/em> is a declaration of truth camouflaged as a work of art. It shouldn’t slip through the cracks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Irresistible' Chooses an Inopportune Moment to Get Glib About Politics",
"headTitle": "‘Irresistible’ Chooses an Inopportune Moment to Get Glib About Politics | KQED",
"content": "\u003cp>Early in \u003cem>Irresistible\u003c/em>, a film directed and written by Jon Stewart, we cut from your basic Washington weasel to what is labeled in a caption as “Rural America,” and under that, “Heartland, USA.” This wry joke suggests that ripping off this meaningless, cynical label slapped on the Wisconsin town we’re about to visit will be the film’s purpose. Unfortunately, “Rural America: Heartland, USA” is how the movie sees the town, too. The town is generic, the people are generic, the movie is generic, and its politics are generic. Given how broadly unobjectionable it is designed to be, it’s a little shocking how transparently it’s laboring to be subversive.\u003c/p>\n\u003cp>Gary (Steve Carell) is a campaign consultant (interestingly, the film’s official synopsis calls him a \u003ca href=\"https://www.newyorker.com/magazine/2006/08/07/the-ic-factor\" target=\"_blank\" rel=\"noopener noreferrer\">“Democrat campaign consultant”\u003c/a>) who worked for Hillary Clinton and is reeling from the 2016 election when we first meet him. If you watched Carell on \u003cem>The Office\u003c/em>, you largely know who Gary is: Think Michael Scott if he’d made his way into political consulting and used his sales skills over there, and also he didn’t have any of the redeeming qualities Michael Scott had.\u003c/p>\n\u003cp>Gary comes across a viral video of a Wisconsin veteran and farmer named Jack Hastings (Chris Cooper) giving a speech about principle at a town meeting in Rural America, Heartland USA. Enthralled by Hastings and seeing an opportunity, Gary descends on the town and becomes the leader of Jack’s campaign for mayor, which he wants to use as a proving ground for a more rural-friendly Democratic party in the wake of losses in several midwestern states in 2016.\u003c/p>\n\u003cp>Naturally, Jack is a reticent and plain-spoken farmer who resists Gary’s big-city, D.C. insider ways, and the film spends a lot of time guffawing at things like Gary telling his staff he wants to be authentic and stripped down for his trip to Wisconsin and needs a regular rental car, not a fancy one—then popping his head back in to ask for a car with Bose speakers in the kind of sequence you can call out from your couch with ease: “He’s going to pop back in and say he wants a champagne bath or something!”\u003c/p>\n\u003cp>Back in Rural America, Heartland USA, Gary and a Republican counterpart of his named Faith (played by Rose Byrne, deserving better as she often does) descend into a caricature of politics in which they’re uninterested in the stakes of the mayoral election; they just are interested in winning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, it’s hard to blame them, because there are no stakes in the election. There is no indication at any point that there is any disagreement among people in this town about anything. They are, as we will eventually learn, literally unified on every issue. There are no dissenters, there are no policies at stake; they are simple, ideologically interchangeable residents of Rural America, Heartland USA, who all just want to build schools and help each other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0vhaAoSm1NY\u003c/p>\n\u003cp>This has always been Stewart’s theory, that if the media and national politicians and campaign finance laws would get out of the way, everyone really is basically the same on the inside. I first heard him articulate it at the Rally to Restore Sanity And/Or Fear on the National Mall in 2010, and it seems that his view of American political life has remained stable for the last 10 years. Which is really an accomplishment, of a sort.\u003c/p>\n\u003cp>Ironically, while castigating Beltway insiders for not really caring about the town, Stewart is also not interested in any of the local politics of the town and doesn’t doesn’t even suggest it has any; he’s only interested in Gary and Faith’s attempted manipulation of these simple good (white) people as a simulacrum of D.C. decay.\u003c/p>\n\u003cp>What of the fact that local governments actually have enormous influence on issues like zoning, policing, schools, election security, housing, and all manner of regulations? And what of the fact that bitter local battles have been central to issues of race, the safety of LGBTQ people, the economic security of imperiled communities, and the security of the environment? Battles that have played on genuine enmity between neighbors? That stuff, Stewart posits, doesn’t matter. We’d all be getting along fine without those Beltway insiders and their artificial divides.\u003c/p>\n\u003cp>In fairness, it may help the town avoid at least some common conflicts about race that the only Black people you ever see are specifically used in jokes about Black people. One appears in a scene where the joke is that he’s not part of a focus-group demographic, he’s the one Black guy. Three Black men in Black Lives Matter shirts later walk up to a Republican voter registration table, and the men working the table sloooooowly pull the pens and clipboards back. (Very funny to those in the mood for casual voter suppression humor!) None of these men speak.\u003c/p>\n\u003cp>Gary has one Black co-worker whose job it is to side-eye and mutter at her clueless colleagues (who, led by Debra Messing, hold hands and start chanting “si se puede” in a staff meeting) for a few seconds. And we meet a Black woman at a Washington fundraiser who I think has one line, but she is there as part of what appears to be an interracial lesbian couple wearing paired “Stay Woke” shirts who are trying to urbansplain “farm to table” to Jack the decent and wise Wisconsin farmer. They are part of the mockery of insufferable D.C. liberals, you see.\u003c/p>\n\u003cp>Perhaps what makes \u003cem>Irresistible \u003c/em>so hard to take at this moment is that it has the swagger of a much smarter movie than it is. It purports to investigate what’s gone wrong in American politics but focuses its idea of good Americans on an all-white town where everyone agrees about everything and nothing matters. Small towns only matter in this story because they are, as a single bloc, being mistreated and manipulated and blown about by Washington. It is in this story, and not in the world, that only Washington matters.\u003c/p>\n\u003cp>It’s also so utterly toothless as satire, because there’s nothing in it that challenges anyone’s ideas about anything. Who is going to find this provocative? The people who love Beltway insiders? SuperPAC stans? The thesis of the film is that people in the United States have been convinced that they have legitimate policy divisions by a cynical and manipulative media. We only think we have serious disagreements because the pundits are focused on artificial right-left divide, Stewart lectures through a character’s mouth at one point. He probably believes it; there are certainly those who can afford to.\u003c/p>\n\u003cp>It’s worth noting the “It’s just comedy! It’s not trying to teach anybody anything!” line that has been Jon Stewart’s explanation for every flaw in the impassioned civic arguments he’s been making since he took over \u003cem>The Daily Show \u003c/em>in 1999. But—and you won’t believe me when I tell you this—the closing image of \u003cem>Irresistible\u003c/em> is someone telling Jon Stewart how he got something exactly right and the two of them having a good laugh about how right he is. People who are just making little comedies don’t need to make special featurettes where they’re told that they’re right.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The funny thing is this: You know who’s really going to love this movie? People who go to D.C. political fundraising dinners, who will say, “Ha ha, that’s \u003cem>so\u003c/em> true, we \u003cem>are \u003c/em>like that,” and then they will keep doing exactly what they’re doing. They’ll also lament the fact that Jon Stewart ever left \u003cem>The Daily Show\u003c/em> and handed the reins to Trevor Noah, because they really miss Jon (who they call Jon), and they’re pretty sure he’d have had a \u003cem>lot \u003c/em>to say that’s relevant to our current political moment. Unfortunately, if he does, it won’t be in this movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Irresistible%27+Chooses+An+Inopportune+Moment+To+Get+Glib+About+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in \u003cem>Irresistible\u003c/em>, a film directed and written by Jon Stewart, we cut from your basic Washington weasel to what is labeled in a caption as “Rural America,” and under that, “Heartland, USA.” This wry joke suggests that ripping off this meaningless, cynical label slapped on the Wisconsin town we’re about to visit will be the film’s purpose. Unfortunately, “Rural America: Heartland, USA” is how the movie sees the town, too. The town is generic, the people are generic, the movie is generic, and its politics are generic. Given how broadly unobjectionable it is designed to be, it’s a little shocking how transparently it’s laboring to be subversive.\u003c/p>\n\u003cp>Gary (Steve Carell) is a campaign consultant (interestingly, the film’s official synopsis calls him a \u003ca href=\"https://www.newyorker.com/magazine/2006/08/07/the-ic-factor\" target=\"_blank\" rel=\"noopener noreferrer\">“Democrat campaign consultant”\u003c/a>) who worked for Hillary Clinton and is reeling from the 2016 election when we first meet him. If you watched Carell on \u003cem>The Office\u003c/em>, you largely know who Gary is: Think Michael Scott if he’d made his way into political consulting and used his sales skills over there, and also he didn’t have any of the redeeming qualities Michael Scott had.\u003c/p>\n\u003cp>Gary comes across a viral video of a Wisconsin veteran and farmer named Jack Hastings (Chris Cooper) giving a speech about principle at a town meeting in Rural America, Heartland USA. Enthralled by Hastings and seeing an opportunity, Gary descends on the town and becomes the leader of Jack’s campaign for mayor, which he wants to use as a proving ground for a more rural-friendly Democratic party in the wake of losses in several midwestern states in 2016.\u003c/p>\n\u003cp>Naturally, Jack is a reticent and plain-spoken farmer who resists Gary’s big-city, D.C. insider ways, and the film spends a lot of time guffawing at things like Gary telling his staff he wants to be authentic and stripped down for his trip to Wisconsin and needs a regular rental car, not a fancy one—then popping his head back in to ask for a car with Bose speakers in the kind of sequence you can call out from your couch with ease: “He’s going to pop back in and say he wants a champagne bath or something!”\u003c/p>\n\u003cp>Back in Rural America, Heartland USA, Gary and a Republican counterpart of his named Faith (played by Rose Byrne, deserving better as she often does) descend into a caricature of politics in which they’re uninterested in the stakes of the mayoral election; they just are interested in winning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, it’s hard to blame them, because there are no stakes in the election. There is no indication at any point that there is any disagreement among people in this town about anything. They are, as we will eventually learn, literally unified on every issue. There are no dissenters, there are no policies at stake; they are simple, ideologically interchangeable residents of Rural America, Heartland USA, who all just want to build schools and help each other.\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/0vhaAoSm1NY'\n title='//www.youtube.com/embed/0vhaAoSm1NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This has always been Stewart’s theory, that if the media and national politicians and campaign finance laws would get out of the way, everyone really is basically the same on the inside. I first heard him articulate it at the Rally to Restore Sanity And/Or Fear on the National Mall in 2010, and it seems that his view of American political life has remained stable for the last 10 years. Which is really an accomplishment, of a sort.\u003c/p>\n\u003cp>Ironically, while castigating Beltway insiders for not really caring about the town, Stewart is also not interested in any of the local politics of the town and doesn’t doesn’t even suggest it has any; he’s only interested in Gary and Faith’s attempted manipulation of these simple good (white) people as a simulacrum of D.C. decay.\u003c/p>\n\u003cp>What of the fact that local governments actually have enormous influence on issues like zoning, policing, schools, election security, housing, and all manner of regulations? And what of the fact that bitter local battles have been central to issues of race, the safety of LGBTQ people, the economic security of imperiled communities, and the security of the environment? Battles that have played on genuine enmity between neighbors? That stuff, Stewart posits, doesn’t matter. We’d all be getting along fine without those Beltway insiders and their artificial divides.\u003c/p>\n\u003cp>In fairness, it may help the town avoid at least some common conflicts about race that the only Black people you ever see are specifically used in jokes about Black people. One appears in a scene where the joke is that he’s not part of a focus-group demographic, he’s the one Black guy. Three Black men in Black Lives Matter shirts later walk up to a Republican voter registration table, and the men working the table sloooooowly pull the pens and clipboards back. (Very funny to those in the mood for casual voter suppression humor!) None of these men speak.\u003c/p>\n\u003cp>Gary has one Black co-worker whose job it is to side-eye and mutter at her clueless colleagues (who, led by Debra Messing, hold hands and start chanting “si se puede” in a staff meeting) for a few seconds. And we meet a Black woman at a Washington fundraiser who I think has one line, but she is there as part of what appears to be an interracial lesbian couple wearing paired “Stay Woke” shirts who are trying to urbansplain “farm to table” to Jack the decent and wise Wisconsin farmer. They are part of the mockery of insufferable D.C. liberals, you see.\u003c/p>\n\u003cp>Perhaps what makes \u003cem>Irresistible \u003c/em>so hard to take at this moment is that it has the swagger of a much smarter movie than it is. It purports to investigate what’s gone wrong in American politics but focuses its idea of good Americans on an all-white town where everyone agrees about everything and nothing matters. Small towns only matter in this story because they are, as a single bloc, being mistreated and manipulated and blown about by Washington. It is in this story, and not in the world, that only Washington matters.\u003c/p>\n\u003cp>It’s also so utterly toothless as satire, because there’s nothing in it that challenges anyone’s ideas about anything. Who is going to find this provocative? The people who love Beltway insiders? SuperPAC stans? The thesis of the film is that people in the United States have been convinced that they have legitimate policy divisions by a cynical and manipulative media. We only think we have serious disagreements because the pundits are focused on artificial right-left divide, Stewart lectures through a character’s mouth at one point. He probably believes it; there are certainly those who can afford to.\u003c/p>\n\u003cp>It’s worth noting the “It’s just comedy! It’s not trying to teach anybody anything!” line that has been Jon Stewart’s explanation for every flaw in the impassioned civic arguments he’s been making since he took over \u003cem>The Daily Show \u003c/em>in 1999. But—and you won’t believe me when I tell you this—the closing image of \u003cem>Irresistible\u003c/em> is someone telling Jon Stewart how he got something exactly right and the two of them having a good laugh about how right he is. People who are just making little comedies don’t need to make special featurettes where they’re told that they’re right.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The funny thing is this: You know who’s really going to love this movie? People who go to D.C. political fundraising dinners, who will say, “Ha ha, that’s \u003cem>so\u003c/em> true, we \u003cem>are \u003c/em>like that,” and then they will keep doing exactly what they’re doing. They’ll also lament the fact that Jon Stewart ever left \u003cem>The Daily Show\u003c/em> and handed the reins to Trevor Noah, because they really miss Jon (who they call Jon), and they’re pretty sure he’d have had a \u003cem>lot \u003c/em>to say that’s relevant to our current political moment. Unfortunately, if he does, it won’t be in this movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Irresistible%27+Chooses+An+Inopportune+Moment+To+Get+Glib+About+Politics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Joel Schumacher, Director of ‘St. Elmo's Fire,’ Dies at 80",
"headTitle": "Joel Schumacher, Director of ‘St. Elmo’s Fire,’ Dies at 80 | KQED",
"content": "\u003cp>Joel Schumacher, the eclectic and brazen filmmaker who dressed New York department store windows before shepherding the Brat Pack to the big screen in \u003cem>St. Elmo’s Fire\u003c/em> and steering the Batman franchise into its most baroque territory in \u003cem>Batman Forever\u003c/em> and \u003cem>Batman & Robin\u003c/em>, has died. He was 80.\u003c/p>\n\u003cp>A representative for Schumacher said the filmmaker died Monday in New York after a yearlong battle with cancer.\u003c/p>\n\u003cp>A native New Yorker, Schumacher was first a sensation in the fashion world after attending Parsons School of Design and decorating Henri Bendel’s windows. His entry to film came first as a costume designer. Schumacher dressed a pair of Woody Allen movies in the 1970s: \u003cem>Interiors\u003c/em> and \u003cem>Sleeper\u003c/em>.\u003c/p>\n\u003cp>As a director, he established himself as a filmmaker of great flare, if not often good reviews, in a string of mainstream films in the ’80s and ’90s. To the frequent frustration of critics but the delight of audiences, Schumacher favored entertainment over tastefulness—including those infamous sensual Batman and Robin suits with visible nipples—and he did so proudly.\u003c/p>\n\u003cp>“A movie that’s in a movie theater that runs at 2, 4, 6, 8 and 10 and there’s no one in the audience when that movie runs—what’s the point?” Schumacher once told Charlie Rose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The success of his first hit, \u003cem>St. Elmo’s Fire\u003c/em>, with Rob Lowe, Demi Moore, Emilio Estevez and Ally Sheedy not only helped make a name for the Brat Pack but made Schumacher in-demand in Hollywood. He followed it up with 1987’s \u003cem>The Lost Boys\u003c/em>, with Jason Patric, Corey Haim, Kiefer Sutherland and Corey Feldman. A vampire horror comedy, it gave a darker, contemporary view of the perpetual adolescence of \u003cem>Peter Pan\u003c/em>.\u003c/p>\n\u003cp>Schumacher then made \u003cem>Flatliners\u003c/em>, about morbidly obsessed medical students, and a pair of John Grisham adaptations in \u003cem>The Client\u003c/em> and \u003cem>A Time to Kill\u003c/em>. \u003cem>Falling Down\u003c/em>, with Michael Douglas as a Los Angeles man whose anger from minute every-day interactions steadily builds in violence, was maybe his most critically acclaimed film, though its depictions of minorities—particularly a Korean grocer—were from the start hotly debated.\u003c/p>\n\u003cp>On the film’s 25th anniversary, April Wolfe of \u003cem>LA Weekly\u003c/em> wrote that it “remains one of Hollywood’s most overt yet morally complex depictions of the modern white-victimization narrative, one both adored and reviled by the extreme right.”\u003c/p>\n\u003cp>The slickness of those productions helped Schumacher inherit the DC universe from Tim Burton. In Schumacher’s hands, Batman received a garish overhaul that resulted in two of the the franchise’s most cartoonish movies in 1995’s \u003cem>Batman Forever\u003c/em> and 1997’s \u003cem>Batman & Robin\u003c/em>. The first was a box-office smash but the second fizzled and remains most often remembered for its infamous suits.\u003c/p>\n\u003cp>“It was like I had murdered a baby,” Schumacher said of the response to \u003cem>Batman & Robin\u003c/em>. Yet it, too, has developed a small cult following for those who prefer the antithesis of Christopher Nolan’s more grim Batman movies.\u003c/p>\n\u003cp>Schumacher was raised in Queens by his mother after his father died when he was four years old. As a youngster, he quickly became enmeshed in the city’s nightlife.\u003c/p>\n\u003cp>“The street was my education,” Schumacher told \u003cem>Vulture\u003c/em> earlier this year. “You could ride your bike over the 59th Street Bridge then. So I rode my bike everywhere. I was in Manhattan all the time and all over Queens. If you’re a kid on a bike, anything can happen, and predators come out of the woodwork, my God. I looked very innocent, but I wasn’t.”\u003c/p>\n\u003cp>Schumacher would often say he was fortunate to have survived the ’60s at all. He made habits of liquid Methadrine, acid and sex. Out long before many in Hollywood, Schumacher counted his lovers in “the double-digit thousands.” He was a warm and gossipy raconteur though Schumacher said he “never kissed and told about anybody who gives me the favor of sharing a bed with me.”\u003c/p>\n\u003cp>“I don’t not like talking about it, I just don’t believe it matters,” Schumacher said of his sexuality in a 2000 interview with the \u003cem>Guardian\u003c/em>. “I’ve lived my life very openly. I started drinking at nine. I started doing drugs in my early teens. I started smoking at 10 and I started sex at 11. So I’m not hiding anything. But I am totally and completely against labels.”\u003c/p>\n\u003cp>After \u003cem>Batman & Robin\u003c/em>, Schumacher turned to lower-budget thrillers: \u003cem>8mm\u003c/em>, with Nicholas Cage; \u003cem>Flawless\u003c/em>, with Robert De Niro; \u003cem>Phone Booth\u003c/em>, with Colin Farrell. Schumacher, behind the beginnings of so many careers, gave Farrell his first led role in 2000’s \u003cem>Tigerland\u003c/em>. In 2004, he took on Andrew Lloyd Weber’s \u003cem>Phantom of the Opera\u003c/em>, a late, gaudy flourish that combined Schumacher with perhaps his Broadway equivalent in the spectacle-making Weber. Most recently, he directed two episodes of Netflix’s \u003cem>House of Cards\u003c/em> in 2013.\u003c/p>\n\u003cp>In his last interview, with \u003cem>New York\u003c/em> magazine, Schumacher reflected on a show at London’s National Gallery of the now highly regarded works of James McNeill Whistler and John Singer Sargent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They did a brilliant thing. Right next to them on the wall, framed right next to the paintings, were all their horrible reviews,” said Schumacher. “Who remembers these reviews?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joel Schumacher, the eclectic and brazen filmmaker who dressed New York department store windows before shepherding the Brat Pack to the big screen in \u003cem>St. Elmo’s Fire\u003c/em> and steering the Batman franchise into its most baroque territory in \u003cem>Batman Forever\u003c/em> and \u003cem>Batman & Robin\u003c/em>, has died. He was 80.\u003c/p>\n\u003cp>A representative for Schumacher said the filmmaker died Monday in New York after a yearlong battle with cancer.\u003c/p>\n\u003cp>A native New Yorker, Schumacher was first a sensation in the fashion world after attending Parsons School of Design and decorating Henri Bendel’s windows. His entry to film came first as a costume designer. Schumacher dressed a pair of Woody Allen movies in the 1970s: \u003cem>Interiors\u003c/em> and \u003cem>Sleeper\u003c/em>.\u003c/p>\n\u003cp>As a director, he established himself as a filmmaker of great flare, if not often good reviews, in a string of mainstream films in the ’80s and ’90s. To the frequent frustration of critics but the delight of audiences, Schumacher favored entertainment over tastefulness—including those infamous sensual Batman and Robin suits with visible nipples—and he did so proudly.\u003c/p>\n\u003cp>“A movie that’s in a movie theater that runs at 2, 4, 6, 8 and 10 and there’s no one in the audience when that movie runs—what’s the point?” Schumacher once told Charlie Rose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The success of his first hit, \u003cem>St. Elmo’s Fire\u003c/em>, with Rob Lowe, Demi Moore, Emilio Estevez and Ally Sheedy not only helped make a name for the Brat Pack but made Schumacher in-demand in Hollywood. He followed it up with 1987’s \u003cem>The Lost Boys\u003c/em>, with Jason Patric, Corey Haim, Kiefer Sutherland and Corey Feldman. A vampire horror comedy, it gave a darker, contemporary view of the perpetual adolescence of \u003cem>Peter Pan\u003c/em>.\u003c/p>\n\u003cp>Schumacher then made \u003cem>Flatliners\u003c/em>, about morbidly obsessed medical students, and a pair of John Grisham adaptations in \u003cem>The Client\u003c/em> and \u003cem>A Time to Kill\u003c/em>. \u003cem>Falling Down\u003c/em>, with Michael Douglas as a Los Angeles man whose anger from minute every-day interactions steadily builds in violence, was maybe his most critically acclaimed film, though its depictions of minorities—particularly a Korean grocer—were from the start hotly debated.\u003c/p>\n\u003cp>On the film’s 25th anniversary, April Wolfe of \u003cem>LA Weekly\u003c/em> wrote that it “remains one of Hollywood’s most overt yet morally complex depictions of the modern white-victimization narrative, one both adored and reviled by the extreme right.”\u003c/p>\n\u003cp>The slickness of those productions helped Schumacher inherit the DC universe from Tim Burton. In Schumacher’s hands, Batman received a garish overhaul that resulted in two of the the franchise’s most cartoonish movies in 1995’s \u003cem>Batman Forever\u003c/em> and 1997’s \u003cem>Batman & Robin\u003c/em>. The first was a box-office smash but the second fizzled and remains most often remembered for its infamous suits.\u003c/p>\n\u003cp>“It was like I had murdered a baby,” Schumacher said of the response to \u003cem>Batman & Robin\u003c/em>. Yet it, too, has developed a small cult following for those who prefer the antithesis of Christopher Nolan’s more grim Batman movies.\u003c/p>\n\u003cp>Schumacher was raised in Queens by his mother after his father died when he was four years old. As a youngster, he quickly became enmeshed in the city’s nightlife.\u003c/p>\n\u003cp>“The street was my education,” Schumacher told \u003cem>Vulture\u003c/em> earlier this year. “You could ride your bike over the 59th Street Bridge then. So I rode my bike everywhere. I was in Manhattan all the time and all over Queens. If you’re a kid on a bike, anything can happen, and predators come out of the woodwork, my God. I looked very innocent, but I wasn’t.”\u003c/p>\n\u003cp>Schumacher would often say he was fortunate to have survived the ’60s at all. He made habits of liquid Methadrine, acid and sex. Out long before many in Hollywood, Schumacher counted his lovers in “the double-digit thousands.” He was a warm and gossipy raconteur though Schumacher said he “never kissed and told about anybody who gives me the favor of sharing a bed with me.”\u003c/p>\n\u003cp>“I don’t not like talking about it, I just don’t believe it matters,” Schumacher said of his sexuality in a 2000 interview with the \u003cem>Guardian\u003c/em>. “I’ve lived my life very openly. I started drinking at nine. I started doing drugs in my early teens. I started smoking at 10 and I started sex at 11. So I’m not hiding anything. But I am totally and completely against labels.”\u003c/p>\n\u003cp>After \u003cem>Batman & Robin\u003c/em>, Schumacher turned to lower-budget thrillers: \u003cem>8mm\u003c/em>, with Nicholas Cage; \u003cem>Flawless\u003c/em>, with Robert De Niro; \u003cem>Phone Booth\u003c/em>, with Colin Farrell. Schumacher, behind the beginnings of so many careers, gave Farrell his first led role in 2000’s \u003cem>Tigerland\u003c/em>. In 2004, he took on Andrew Lloyd Weber’s \u003cem>Phantom of the Opera\u003c/em>, a late, gaudy flourish that combined Schumacher with perhaps his Broadway equivalent in the spectacle-making Weber. Most recently, he directed two episodes of Netflix’s \u003cem>House of Cards\u003c/em> in 2013.\u003c/p>\n\u003cp>In his last interview, with \u003cem>New York\u003c/em> magazine, Schumacher reflected on a show at London’s National Gallery of the now highly regarded works of James McNeill Whistler and John Singer Sargent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“They did a brilliant thing. Right next to them on the wall, framed right next to the paintings, were all their horrible reviews,” said Schumacher. “Who remembers these reviews?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! From Stockton to Lucknow, the World is Your Oyster",
"headTitle": "Now Playing! From Stockton to Lucknow, the World is Your Oyster | KQED",
"content": "\u003cp>There are treats galore this week, especially for those with an ear for history and an appreciation for the written and spoken word. As that old bumper sticker might read today, “Think globally, watch locally.” \u003c/p>\n\u003cp>\u003cb>\u003cem>Stockton On My Mind\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://docs.afi.com/2020/feature-films-2020/stockton-on-my-mind#5ed6d9603e653\" rel=\"noopener noreferrer\" target=\"_blank\">AFI Docs\u003c/a>\u003cbr>\nMichael Tubbs was the first African American to be elected mayor of nearby Stockton, and its youngest: He was 26 on Election Day 2016. Marc Levin’s verité documentary of Tubbs’ first term was primed to premiere in April at the Tribeca Film Festival (with an HBO broadcast down the road) before the coronavirus canceled the NYC bash. Now anyone can buy a ticket to watch it online for just one day (Thursday, June 18), accompanied by an interview with the subject and director, as part of the virtual AFI Docs Film Festival in Washington, D.C.\u003c/p>\n\u003cp>https://youtu.be/rNUYdgIyaPM\u003c/p>\n\u003cp>\u003cb>\u003cem>I Am Not Your Negro\u003c/em>, 2016\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/i-am-not-your-negro\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>, \u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T/\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003cbr>\nJames Baldwin had as clear a view of his present and our future as anyone, but I don’t know if he imagined a 26-year-old black mayor of a U.S. city. If you still haven’t seen Raoul Peck’s brilliantly imagined mosaic of Baldwin’s unfinished book, \u003cem>Remember This House\u003c/em>, it is essential viewing. And not just in the present moment, because the wisdom and wit of one of the greatest public intellectuals in American history will always be relevant.\u003c/p>\n\u003cp>https://youtu.be/e5QDxeKdEcY\u003c/p>\n\u003cp>\u003cb>\u003cem>Terrence McNally: Every Act of Life\u003c/em>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://www.pbs.org/video/terrence-mcnally-every-act-of-life-2woybn/\" rel=\"noopener noreferrer\" target=\"_blank\">PBS\u003c/a>\u003cbr>\nIn honor of Pride month, and in remembrance of the Tony Award-winning playwright of \u003ci>Love! Valour! Compassion!\u003c/i> (and numerous other splendid works informed by the AIDS epidemic) who died of COVID-19, PBS is streaming this candid and affecting \u003ci>American Masters\u003c/i> portrait through Aug. 31. Filmmaker Jeff Kaufman joins actors André De Shields, John Glover and Benjamin Hickey to talk about McNally’s gutsy career on Wednesday, Aug. 17 at 5pm PDT on \u003ca href=\"https://ovee.itvs.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Ovee\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/hjrGKdeWADE\u003c/p>\n\u003cp>\u003cb>\u003cem>Mae West: Dirty Blonde\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.pbs.org/wnet/americanmasters/paramount-pictures/14754/\" rel=\"noopener noreferrer\" target=\"_blank\">PBS\u003c/a>\u003cbr>\nThe immortal Brooklyn-born vaudevillian, playwright, actress, screenwriter, comedian and provocateur Mae West was revolutionary in her own right. She took on censors, critics, studio execs and men of every stripe in the course of a brilliant career that, not incidentally, was built on the belief that women could make their own choices in and out of bed. This new \u003cem>American Masters\u003c/em> profile premieres Tuesday, June 16 at 8pm on KQED (and repeats Saturday, June 20 at 9pm on KQED World).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Albany Film Festival\u003c/b>\u003cbr>\nThe 10th annual showcase of local filmmakers and short films was going to be something special, until the pandemic slammed the door. The organizers rallied to convert to a free, online format, and just announced they’ll keep the \u003ca href=\"https://albanyfilmfest.org/albany-filmfest-2020\" rel=\"noopener noreferrer\" target=\"_blank\">main festival\u003c/a> as well as the \u003ca href=\"https://albanyfilmfest.org/2020-kids-matinee\" rel=\"noopener noreferrer\" target=\"_blank\">kids’ matinee\u003c/a> spooling through Sunday, June 21. \u003c/p>\n\u003cp>https://vimeo.com/100559406\u003c/p>\n\u003cp>\u003cb>\u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em>, 2014\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/image\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>\u003cbr>\nJudy Montell was already in her 50s when she gravitated to filmmaking. Her 1990 debut, \u003ci>Forever Activists: Stories from the Abraham Lincoln Brigade\u003c/i> (made with Connie Field), was an unabashedly political, Oscar-nominated oral history of the Spanish Civil War. The East Bay filmmaker’s last documentary, \u003ci>In the Image\u003c/i> (made with Emmy Scharlatt), was a gritty look at the Israeli human rights organization that provides cameras to Palestinians to document—and deter—attacks by the army and settlers. (Sound familiar?) Montell died May 23 at age 89, and will be greatly missed.\u003c/p>\n\u003cp>https://youtu.be/gnbfZQ2BAb4\u003c/p>\n\u003cp>\u003cb>\u003cem>Plastic Man: The Artful Life of Jerry Ross Barrish\u003c/em>, 2014\u003c/b>\u003cbr>\n\u003ca href=\"https://medium.com/@sfjewishfilm\">Jewish Film Institute\u003c/a>\u003cbr>\nFor anyone who visited San Francisco’s Hall of Justice on Bryant Street—for jury duty or other reasons—over many decades, Barrish Bail Bonds was a landmark. Janis Plotkin and William Farley’s continually surprising profile of their longtime friend, whose claims to fame straddle and transcend the justice system, returns June 18–July 2 via the Jewish Film Institute’s online Cinegogue Sessions. Disclosure: Your correspondent taped an introduction and moderated a Zoom conversation with the three collaborators, segments that bookend the film.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://film.ucsc.edu/socdoc/screening\" rel=\"noopener noreferrer\" target=\"_blank\">UC Santa Cruz SocDoc Graduate Exhibition\u003c/a>\u003c/b>\u003cbr>\nJournalism may be in crisis, but nonfiction remains a calling for young people who want to apply their filmmaking chops to social justice issues. The nine graduate students in the Social Documentation MFA program at UC Santa Cruz chose urgent subjects like a Basque community in Bakersfield grappling with assimilation, a Watsonville group using soccer in pursuit of loftier goals, Northern California Latinx squeezed by gentrification and Iranian families suffering the effects of U.S. sanctions. Their master’s thesis documentaries screen online for free through Aug. 30.\u003c/p>\n\u003cfigure id=\"attachment_13882036\" class=\"wp-caption aligncenter\" style=\"max-width: 1288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web.jpg\" alt=\"\" width=\"1288\" height=\"729\" class=\"size-full wp-image-13882036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web.jpg 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-1020x577.jpg 1020w\" sizes=\"(max-width: 1288px) 100vw, 1288px\">\u003cfigcaption class=\"wp-caption-text\">Ayushmann Khurrana and Amitabh Bachchan in ‘Gulabo Sitabo.’ \u003ccite>(Amazon Prime Video India)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Gulabo Sitabo\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/Gulabo-Sitabo-Amitabh-Bachchan/dp/B089HJ1S3L\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003cbr>\nOne of the consequences of the pandemic was the postponement of countless theatrical releases. Some of those films opted to premiere online, either via VOD (e.g., \u003cem>The Trip to Greece\u003c/em>) or through a sale to a subscription service like Netflix (\u003cem>The Lovebirds\u003c/em>). The April theatrical release of this piquant Hindi-language dramatic comedy was derailed by the virus, and launched June 12 on Amazon Prime Video. The movie is set in a rundown mansion in Lucknow, where the elderly landlord (Indian film icon Amitabh Bachchan) and a young resident (Bollywood star Ayushmann Khurrana) wage an ongoing war of words and micro-aggressions.\u003c/p>\n\u003cp>Each man enlists an outside agent to, respectively, make a fortune or maintain their residence, but there’s one small detail: The actual owner is the older man’s even older wife, who isn’t as frail as she seems. I was hoping for a Bollywood extravaganza with deliriously staged musical production numbers, but \u003cem>Gulabo Sitado\u003c/em> is a rather straightforward depiction of an apocryphal, cautionary tale. It’s certainly worth a look, and the deeply pleasurable soundtrack is rife with unexpected instruments and top-notch songs.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are treats galore this week, especially for those with an ear for history and an appreciation for the written and spoken word. As that old bumper sticker might read today, “Think globally, watch locally.” \u003c/p>\n\u003cp>\u003cb>\u003cem>Stockton On My Mind\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://docs.afi.com/2020/feature-films-2020/stockton-on-my-mind#5ed6d9603e653\" rel=\"noopener noreferrer\" target=\"_blank\">AFI Docs\u003c/a>\u003cbr>\nMichael Tubbs was the first African American to be elected mayor of nearby Stockton, and its youngest: He was 26 on Election Day 2016. Marc Levin’s verité documentary of Tubbs’ first term was primed to premiere in April at the Tribeca Film Festival (with an HBO broadcast down the road) before the coronavirus canceled the NYC bash. Now anyone can buy a ticket to watch it online for just one day (Thursday, June 18), accompanied by an interview with the subject and director, as part of the virtual AFI Docs Film Festival in Washington, D.C.\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/rNUYdgIyaPM'\n title='//www.youtube.com/embed/rNUYdgIyaPM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>I Am Not Your Negro\u003c/em>, 2016\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/i-am-not-your-negro\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>, \u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T/\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003cbr>\nJames Baldwin had as clear a view of his present and our future as anyone, but I don’t know if he imagined a 26-year-old black mayor of a U.S. city. If you still haven’t seen Raoul Peck’s brilliantly imagined mosaic of Baldwin’s unfinished book, \u003cem>Remember This House\u003c/em>, it is essential viewing. And not just in the present moment, because the wisdom and wit of one of the greatest public intellectuals in American history will always be relevant.\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/e5QDxeKdEcY'\n title='//www.youtube.com/embed/e5QDxeKdEcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Terrence McNally: Every Act of Life\u003c/em>, 2018\u003c/b>\u003cbr>\n\u003ca href=\"https://www.pbs.org/video/terrence-mcnally-every-act-of-life-2woybn/\" rel=\"noopener noreferrer\" target=\"_blank\">PBS\u003c/a>\u003cbr>\nIn honor of Pride month, and in remembrance of the Tony Award-winning playwright of \u003ci>Love! Valour! Compassion!\u003c/i> (and numerous other splendid works informed by the AIDS epidemic) who died of COVID-19, PBS is streaming this candid and affecting \u003ci>American Masters\u003c/i> portrait through Aug. 31. Filmmaker Jeff Kaufman joins actors André De Shields, John Glover and Benjamin Hickey to talk about McNally’s gutsy career on Wednesday, Aug. 17 at 5pm PDT on \u003ca href=\"https://ovee.itvs.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Ovee\u003c/a>.\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/hjrGKdeWADE'\n title='//www.youtube.com/embed/hjrGKdeWADE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Mae West: Dirty Blonde\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.pbs.org/wnet/americanmasters/paramount-pictures/14754/\" rel=\"noopener noreferrer\" target=\"_blank\">PBS\u003c/a>\u003cbr>\nThe immortal Brooklyn-born vaudevillian, playwright, actress, screenwriter, comedian and provocateur Mae West was revolutionary in her own right. She took on censors, critics, studio execs and men of every stripe in the course of a brilliant career that, not incidentally, was built on the belief that women could make their own choices in and out of bed. This new \u003cem>American Masters\u003c/em> profile premieres Tuesday, June 16 at 8pm on KQED (and repeats Saturday, June 20 at 9pm on KQED World).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Albany Film Festival\u003c/b>\u003cbr>\nThe 10th annual showcase of local filmmakers and short films was going to be something special, until the pandemic slammed the door. The organizers rallied to convert to a free, online format, and just announced they’ll keep the \u003ca href=\"https://albanyfilmfest.org/albany-filmfest-2020\" rel=\"noopener noreferrer\" target=\"_blank\">main festival\u003c/a> as well as the \u003ca href=\"https://albanyfilmfest.org/2020-kids-matinee\" rel=\"noopener noreferrer\" target=\"_blank\">kids’ matinee\u003c/a> spooling through Sunday, June 21. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em>, 2014\u003c/b>\u003cbr>\n\u003ca href=\"https://www.kanopy.com/product/image\" rel=\"noopener noreferrer\" target=\"_blank\">Kanopy\u003c/a>\u003cbr>\nJudy Montell was already in her 50s when she gravitated to filmmaking. Her 1990 debut, \u003ci>Forever Activists: Stories from the Abraham Lincoln Brigade\u003c/i> (made with Connie Field), was an unabashedly political, Oscar-nominated oral history of the Spanish Civil War. The East Bay filmmaker’s last documentary, \u003ci>In the Image\u003c/i> (made with Emmy Scharlatt), was a gritty look at the Israeli human rights organization that provides cameras to Palestinians to document—and deter—attacks by the army and settlers. (Sound familiar?) Montell died May 23 at age 89, and will be greatly missed.\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/gnbfZQ2BAb4'\n title='//www.youtube.com/embed/gnbfZQ2BAb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>\u003cem>Plastic Man: The Artful Life of Jerry Ross Barrish\u003c/em>, 2014\u003c/b>\u003cbr>\n\u003ca href=\"https://medium.com/@sfjewishfilm\">Jewish Film Institute\u003c/a>\u003cbr>\nFor anyone who visited San Francisco’s Hall of Justice on Bryant Street—for jury duty or other reasons—over many decades, Barrish Bail Bonds was a landmark. Janis Plotkin and William Farley’s continually surprising profile of their longtime friend, whose claims to fame straddle and transcend the justice system, returns June 18–July 2 via the Jewish Film Institute’s online Cinegogue Sessions. Disclosure: Your correspondent taped an introduction and moderated a Zoom conversation with the three collaborators, segments that bookend the film.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://film.ucsc.edu/socdoc/screening\" rel=\"noopener noreferrer\" target=\"_blank\">UC Santa Cruz SocDoc Graduate Exhibition\u003c/a>\u003c/b>\u003cbr>\nJournalism may be in crisis, but nonfiction remains a calling for young people who want to apply their filmmaking chops to social justice issues. The nine graduate students in the Social Documentation MFA program at UC Santa Cruz chose urgent subjects like a Basque community in Bakersfield grappling with assimilation, a Watsonville group using soccer in pursuit of loftier goals, Northern California Latinx squeezed by gentrification and Iranian families suffering the effects of U.S. sanctions. Their master’s thesis documentaries screen online for free through Aug. 30.\u003c/p>\n\u003cfigure id=\"attachment_13882036\" class=\"wp-caption aligncenter\" style=\"max-width: 1288px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web.jpg\" alt=\"\" width=\"1288\" height=\"729\" class=\"size-full wp-image-13882036\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web.jpg 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/ayushmann_khurrana_and_amitabh_bachchan_in_gulabo_sitabo-h_2020_web-1020x577.jpg 1020w\" sizes=\"(max-width: 1288px) 100vw, 1288px\">\u003cfigcaption class=\"wp-caption-text\">Ayushmann Khurrana and Amitabh Bachchan in ‘Gulabo Sitabo.’ \u003ccite>(Amazon Prime Video India)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003cem>Gulabo Sitabo\u003c/em>, 2020\u003c/b>\u003cbr>\n\u003ca href=\"https://www.amazon.com/Gulabo-Sitabo-Amitabh-Bachchan/dp/B089HJ1S3L\" rel=\"noopener noreferrer\" target=\"_blank\">Amazon Prime Video\u003c/a>\u003cbr>\nOne of the consequences of the pandemic was the postponement of countless theatrical releases. Some of those films opted to premiere online, either via VOD (e.g., \u003cem>The Trip to Greece\u003c/em>) or through a sale to a subscription service like Netflix (\u003cem>The Lovebirds\u003c/em>). The April theatrical release of this piquant Hindi-language dramatic comedy was derailed by the virus, and launched June 12 on Amazon Prime Video. The movie is set in a rundown mansion in Lucknow, where the elderly landlord (Indian film icon Amitabh Bachchan) and a young resident (Bollywood star Ayushmann Khurrana) wage an ongoing war of words and micro-aggressions.\u003c/p>\n\u003cp>Each man enlists an outside agent to, respectively, make a fortune or maintain their residence, but there’s one small detail: The actual owner is the older man’s even older wife, who isn’t as frail as she seems. I was hoping for a Bollywood extravaganza with deliriously staged musical production numbers, but \u003cem>Gulabo Sitado\u003c/em> is a rather straightforward depiction of an apocryphal, cautionary tale. It’s certainly worth a look, and the deeply pleasurable soundtrack is rife with unexpected instruments and top-notch songs.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Aibileen and Skeeter and Mookie and Sal: Love, Work and Watching 'The Help'",
"headTitle": "Aibileen and Skeeter and Mookie and Sal: Love, Work and Watching ‘The Help’ | KQED",
"content": "\u003cp>\u003cem>The Help \u003c/em>shot up the Netflix charts over the last week after Netflix added it on June 1, and I’ve been trying to wrap my head around it ever since. What, I wondered, other than the most general aspiration to engage with the idea of racism, could make this the the time to watch \u003cem>The Help\u003c/em>, a 2011 film (based on a 2009 novel) about a white journalist who gets her big break passing along stories told to her by black maids in 1963? A movie Viola Davis regrets appearing in, because the maids’ voices weren’t placed at the center of the story? Based on a book that \u003ca href=\"https://www.washingtonpost.com/blogs/celebritology/post/the-help-lawsuit-against-kathryn-stockett-dismissed/2011/08/16/gIQAiCWqJJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">got its author sued\u003c/a>? Sure, Netflix added it, Netflix promoted it—but an awful lot of people decided to watch it.\u003c/p>\n\u003cp>But let’s put a pin in that for a minute, and let’s talk about Mookie and Sal.\u003c/p>\n\u003cp>It’s been hard not to think about Spike Lee’s 1989 classic \u003cem>Do The Right Thing\u003c/em> over the last two weeks, let alone the last ten years. The images are stark: the police officer killing Radio Raheem with a chokehold as the kid’s feet twitch above the pavement, Mookie throwing a trash can through the window of Sal’s Famous Pizzeria, the searing heat that’s present in the images of a blisteringly hot day, and later in the crackle of a fire. That fire, those fire hoses, that police car speeding off with Radio Raheem’s body stuffed in the back. And, of course, a block full of people in grief and anger from whom the police flee, leaving behind a situation where they have no idea what’s about to happen, but what matters is that they won’t be there for it.\u003c/p>\n\u003cp>Watching it again, though, I was struck by something else that seemed just as important: its ambivalence—really, its deep \u003cem>skepticism—\u003c/em>about the relationship between Mookie (Lee) and Sal (Danny Aiello), who runs the place where Mookie works delivering pizzas. Because it’s a skepticism that doesn’t start with a broken window.\u003c/p>\n\u003cp>\u003cstrong>Mookie and Sal\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BT2al2t2jnU\u003c/p>\n\u003cp>There is a kind of love Sal would likely say he has for Mookie—that he would say he has for the whole Bed-Stuy neighborhood where he’s been in business for 25 years. He sits down by his front window and gives a speech to his vocally bigoted son Pino (John Turturro) about why he will not relocate, despite Pino’s hatred of the clientele. In it, Sal speaks with convincing warmth, as the camera gently approaches the table and the window and the people outside, about how much it means to him that the black kids on the block have grown up eating his pizza. He will later tell Mookie that even after Pino and Vito take over the business, Mookie always have “a place” there, because he’s “like a son” to him. It’s not true: Mookie is nothing like a son to him. Sal’s fondness for Mookie, like his fondness for the rest of his customers may be real, but it’s also brittle, prone to shattering. His love for his sons, on the other hand, would survive anything.\u003c/p>\n\u003cp>Whether, and how, this affection is returned is just as complicated. Sal’s is an institution, enough that when Buggin’ Out (Giancarlo Esposito) tries to organize a boycott of Sal’s over the lack of black faces on his Wall of Fame, there are initially no takers. The people in the neighborhood like Sal, they feel at home in his place, and they like the pizza. Buggin’ Out is treated like something of a radical even by his friends, who just aren’t up for a boycott on a miserably hot summer day. What’s boycotting Sal going to do for anyone?\u003c/p>\n\u003cp>At the same time, Mookie receives Sal’s words with a sort of aggravated impatience. He’s working. They can share a laugh, but he’s working.\u003c/p>\n\u003cp>To summarize the agonizing ending of the film: When four of those same neighborhood customers arrive just after closing that night, Sal has a reluctant Mookie, who just wants to go home, let them in for a slice. Buggin’ Out, now accompanied by Radio Raheem, comes in behind them. Earlier in the day, Radio Raheem and Sal had a confrontation over Sal’s insistence that there be no music in the pizzeria. Now, the music is back, blasting from the radio, even louder. The yelling starts. Sal picks up his bat and destroys the radio that’s both an expensive piece of personal property and a key to Raheem’s identity. So despite the broken window, the looting and the fire that so troubled some of the early commentators on the film, the first person who takes it upon himself to break someone else’s stuff out of anger is Sal. And he does it for no better reason than that two guys who grew up on his pizza won’t stop blasting, as he puts it, “jungle music.” [aside postid='arts_13881854']\u003c/p>\n\u003cp>Now Radio Raheem grabs Sal, pulls him across the counter, and gets the better of their physical fight. The police arrive, and they kill Radio Raheem with a chokehold as onlookers beg them to stop. The police grab Radio Raheem’s body and speed away. The block pulses with grief and frustration. Mookie walks across the street to a trashcan, takes off the lid, removes the bag, kicks the lid away, carries the trashcan across the street and puts it through the window. The place is looted and burned.\u003c/p>\n\u003cp>Before all this, there’s a kind of love, a \u003cem>kind\u003c/em>, that connects Sal with these customers he thinks of as kids, like a spider web with only a few threads. It’s part of why they came for pizza after closing, and it’s part of why Sal let them in. But if you can call it love, it’s the companionable love that comes from a shared history, not the more durable love that can come from a shared fate.\u003c/p>\n\u003cp>It’s possible to read \u003cem>Do The Right Thing\u003c/em> as a story in which everyone loses, where that’s the bedrock tragedy of racism: relationships are shattered, Sal sees his business burn, Radio Raheem dies. Bad for everyone, the end. This is the way Sal tries to tell the story to Mookie the next morning—it’s Buggin’ Out’s fault, because he started a fight when he didn’t have to, and now everyone suffered. Danny Aiello speaks from the chest as he points out that he built his business with his own hands—every light socket, he says, and every tile—and now it’s all gone.\u003c/p>\n\u003cp>But, in fact, Sal and the customers in the neighborhood have never had the same things at stake. There are elements of back and forth: Sal can break Radio Raheem’s radio; Mookie can break Sal’s window. Radio Raheem and Sal can fight, scrap on the ground, scream at each other. Buggin’ Out throws slurs at Sal; Sal throws slurs at Radio Raheem, infuriating the four who came in for those closing-bell slices.\u003c/p>\n\u003cp>Nevertheless, Sal and Mookie (like Sal and Radio Raheem) lack a fully shared fate. For Sal, this block is where people work for him and buy things from him. For Mookie, it’s where he lives, a largely black neighborhood where he works for a white-owned business. And also, of course, their odds are different in any confrontation because the police have an official monopoly on legal violence (to paraphrase Jill Leovy’s excellent book \u003cem>Ghettoside\u003c/em>, about murders that are and are not solved). “Can we all get along?”, after all, is a sentiment best remembered alongside the fact that the man who uttered it did so after his own beating. [aside postid='arts_13881731']\u003c/p>\n\u003cp>People have written for years about what makes \u003cem>Do The Right Thing “\u003c/em>provocative,” and in 1989, \u003ca href=\"https://www.complex.com/pop-culture/2014/07/critics-reviews-do-the-right-thing/david-denby-do-the-right-thing-review\" target=\"_blank\" rel=\"noopener noreferrer\">there were critics who seem to have been aghast\u003c/a> at their suspicion that Lee sympathized with the people burning down Sal’s pizzeria. (Some of the response was more appalling than this; Murray Kempton in the \u003cem>New York Review Of Books \u003c/em>\u003ca href=\"https://www.nybooks.com/articles/1989/09/28/the-pizza-is-burning/\" target=\"_blank\" rel=\"noopener noreferrer\">somewhat [in]famously wrote\u003c/a> that Sal was the protagonist of the piece, Mookie such an “inferior specimen of a great race” that he couldn’t even serve as a decent antagonist, and the film best understood as the story of Sal’s sad realization that he was a dreamer and his grotesquely racist son who peppered his speech with slurs was merely the “realist.”)\u003c/p>\n\u003cp>But I wonder whether one thing that made the film feel radical—and unsettling—was revealing the limits of Sal’s relationship with Mookie. In fact, Sal’s line, “You’ve always been like a son to me,” is the last thing you hear before the four friends show up outside wanting their four slices and Sal lets them in—the first in the chain of events that leads to a young man’s death.\u003c/p>\n\u003cp>Viewers have interpreted Mookie throwing the trashcan in a variety of ways; there are critical journal articles about it. Maybe he’s acting on impulse, maybe he’s acting out of longstanding anger, maybe he’s an avatar for Lee himself hurling a trashcan at established filmmaking, or maybe he’s encouraging the rage to be directed at the pizzeria rather than have people turn it against Sal and his sons, which saves their lives. But whatever else it does, throwing that trashcan is the end of any relationship in which Sal would ever say, “You’ve always been like a son to me.” Maybe it’s not just the trashcan itself that turns a segment of white viewers against Mookie and the crowd in the street; maybe it’s that he doesn’t appreciate what Sal considers to be genuine love that, to paraphrase Kempton, Mookie doesn’t even remotely deserve.\u003c/p>\n\u003cp>\u003cstrong>Aibileen and Skeeter\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aT9eWGjLv6s\u003c/p>\n\u003cp>All the skepticism about love that’s present in \u003cem>Do The Right Thing \u003c/em>is absent from \u003cem>The Help\u003c/em>.\u003c/p>\n\u003cp>Admittedly, finding the parallels between these films is like finding the parallels between a wetsuit and a jumpsuit: You can kind of understand how they’d be in the same conversation, but you’d have to have both eyes closed to mistake one for the other. Nevertheless, when you see the quasi-familial parent-child bond that breaks apart in \u003cem>Do The Right Thing\u003c/em>, it draws out what \u003cem>The Help\u003c/em> has elided that makes it a bizarre but predictable comfort watch for a lot of—and this is speculation, given the opacity of Netflix numbers, but I stand by it—white people who sent it flying up the charts. [aside postid='arts_13881748']\u003c/p>\n\u003cp>\u003cem>The Help \u003c/em>is about race, yes; it even has a handful of superficial narrative parallels with \u003cem>Do The Right Thing\u003c/em>. (Again, jumpsuit/wetsuit. Maybe even spacesuit.) After all, \u003cem>The Help \u003c/em>also shows close personal relationships between black people and white people, growing out of employment, built over years, that end in cathartic responses that offend, or wound, or mortify white employers. A black maid in \u003cem>The Help\u003c/em> literally feeds her own [excrement] to her hateful, bigoted boss. And contrary to the frustrated reminder Mookie issues Sal after the fire about the fact that he’ll be compensated for his losses, there is no insurance check to compensate for eating [excrement].\u003c/p>\n\u003cp>But \u003cem>The Help\u003c/em> presents itself as warm, funny, “uplifting.” It is not, to say the least, “provocative.” Some of its trailers present it as half wacky comedy, half go-get-’em underdog movie, where it’s the good guys (the maids plus Emma Stone) versus the bad guys (the mean white employers in town, particularly the wicked Hilly, played by Bryce Dallas Howard). The trailer promises that the relationship between Skeeter (Stone) and Aibileen is “an unexpected friendship [that] will change everything.”\u003c/p>\n\u003cp>In analytical terms: “Yyyyyyikes.”\u003c/p>\n\u003cp>Perhaps “unlikely” is right, but “friendship” is awfully curious. Because here’s how they meet: Skeeter gets a job writing a happy-homemaker column that she’s not qualified to write, so she asks Aibileen, her friend’s maid, to be her entirely unpaid ghostwriter. It’s while benefiting from this unpaid labor (that she herself is being paid to do!) that Skeeter decides she wants to write a book about maids. And she wants Aibileen to stick her neck way, way out by sharing her experiences working for white families. So, yes, I’ll say it’s “unlikely,” in that it’s a rare friendship that begins with the party of the first part persuading the party of the second part to risk life and limb by excavating her history of being traumatized for free. (Skeeter will eventually share the money for the book with the maids, but this is not negotiated, transforming it into a magnanimous and unexpected act by Skeeter rather than literally the least she could do for women placing themselves at such risk.)\u003c/p>\n\u003cp>It’s probably overly nitpicky to add that given that this all takes place in 1963, an awful lot of people would doubtless be surprised to hear that it “changed everything.”\u003c/p>\n\u003cp>\u003cstrong>Money Can’t Buy You Love\u003c/strong>\u003c/p>\n\u003cp>Skeeter, oh, Skeeter. One much-discussed element of \u003cem>The Help\u003c/em>‘s racial politics is the role of the white savior. Take it away, \u003ca href=\"http://archive.boston.com/ae/movies/articles/2011/08/10/race_class_and_hollywood_gloss_in_the_help/?page=2\" target=\"_blank\" rel=\"noopener noreferrer\">critic Wesley Morris\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Skeeter’s exposé is meant to empower both the subjects and the author, but \u003cem>The Help\u003c/em> joins everything from \u003cem>To Kill a Mockingbird\u003c/em> to \u003cem>The Blind Side\u003c/em> as another Hollywood movie that sees racial progress as the province of white do-gooderism. Skeeter enjoys all the self-discovery and all the credit. She cracks the mystery of her missing childhood maid (Cicely Tyson). She finds a career at a moment in which women rarely had them. And she changes the lives of a couple of dozen black women whose change is refracted primarily through her. Skeeter’s awakening is a seemingly risk-free reassurance, just as Hilly’s Hanna-Barbera villainy is a kind of delight. [Hilly is the monstrous, most overtly racist woman played by Bryce Dallas Howard.]\u003c/p>\u003c/blockquote>\n\u003cp>For sure, Skeeter is a classic film/television white savior. She couldn’t be more so if she had an S on her chest. But there’s something else that’s profoundly amiss at the center of \u003cem>The Help\u003c/em>, and it’s the privileging of personal feelings and the utter failure to reckon with any of the realities of the power relationships between employees and employers—whether those employers are personally benevolent or not—that are so painfully evident in the relationship between Sal and Mookie. \u003c/p>\n\u003cp>In \u003cem>The Help\u003c/em>, the love between maids and the children they raised, and in some cases the love between maids and adults they work for, exists outside structural inequalities and is affected by little other than personal cruelty or kindness. Far from being made of those fragile threads between Sal and the Bed-Stuy customers, the love between those with less power and those with more is the film’s spine. Like Mookie, Aibileen can tell you exactly how much she makes in her economic exchange with her employer—she makes $182 a month; Mookie makes $250 a week—but for her, that’s separate from the love that has connected her to the 17 white children she’s raised. In fact, one of the things that marks Skeeter’s mother (Allison Janney) as a villain is that she tells Skeeter that the maids are just employees—”We were just a job to her. With them, it’s all about money.” Obviously, this is racist, the way she says “them,” and so forth. But what is so awful, in principle, about the idea that the heart of your relationship with someone you employ is economic? Why must Skeeter prove to her terrible mother that no, being a maid is about \u003cem>love\u003c/em>?\u003c/p>\n\u003cp>Minny (Octavia Spencer) actually explains at one point that maids always love the kids they raise, until those kids grow up to be like their parents. And this is the betrayal we are led to believe hurts the most: the personal betrayal, not the systemic. Not the fact that Minny has to teach her \u003cem>own\u003c/em> daughter how to step carefully around racist employers (don’t let your hand touch theirs, don’t mingle your dishes with theirs), but the fracturing of the bond between maids and other people’s daughters. This conceptual muddle is evident when Minny starts talking about how difficult the job is and mentions not getting minimum wage or Social Security. Skeeter says maybe things can change. “What law’s gonna say you got to be nice to your maid?” Minny snaps. And of course, no law is going to regulate niceness. But I can think of some that might address whether you get minimum wage and Social Security. Paying minimum wage isn’t important because it’s \u003cem>nice;\u003c/em> it’s important because it’s \u003cem>just\u003c/em>. The film’s porous boundary between issues of economic justice and personal affection reappears over and over.\u003c/p>\n\u003cp>Skeeter has this fixation on love as well, particularly as regards the maid who raised her, Constantine. (Constantine is played by towering legend Cicely Tyson, making this as good a time as any to acknowledge that for all its narrative weaknesses, \u003cem>The Help \u003c/em>is full of brilliant actors.) Skeeter’s original framing of the issue of the maids, as she explains it to her putative editor (Mary Steenburgen), is that the situation with the maids needs to be talked about more, because, as she puts it: “We love them and they love us, but they can’t even use the toilets in our houses.” [aside postid='arts_13881229']\u003c/p>\n\u003cp>Skeeter fails to consider the following explanation for this seeming contradiction: Maybe if they can’t use the toilets in your house, you don’t love them. And maybe some of the way they treat you is for money. \u003cem>Maybe they don’t love you.\u003c/em> If that’s the case, then maybe it’s not a matter of mistreating people you love; maybe it’s a matter of paying people for work, treating them miserably, and being so toweringly presumptuous as to assume the natural state of things is for them to love you.\u003c/p>\n\u003cp>Let’s be clear: This is not to say, by any means, that it’s unlikely, let alone impossible, for a person who works for someone to also love them, or to cast aspersions on the genuine love that maids and nannies and teachers and other people paid to care for children can feel for them. Far from it. But for love to be meaningful and aspirational, doesn’t it have to be given in circumstances allowing both dignity and agency? Otherwise, it is brittle. It shatters under pressure. In this version of 1963 Mississippi, when some maids are “inherited” such that the right to employ them is “owned” by one family, and when a maid can be ruined by an accusation of theft whether true or false, how can Skeeter assert of those maids, “We love them and they love us”? What kind of a fantasy, and whose fantasy, is that? And why does the film seemingly assert that \u003cem>as long as the employer is nice\u003c/em>, Skeeter is right?\u003c/p>\n\u003cp>Get this, if you’ve forgotten: After Skeeter has blown up a bunch of maids’ lives by publishing their stories, she gets a job offer in New York and tells Minny and Aibileen that she isn’t taking it, because she doesn’t feel like she can just create all this chaos and danger for them and then pop off to New York. (One of her few good instincts.) The maids, in perhaps the movie’s weirdest scene, assure her that she must go. She’s right to go. They have gone through so much, after all, and “If bad things happen, ain’t nothin’ you can do about it,” Aibileen says. “And now it’s for a reason we can be proud of.” This, after they’ve endured the assassination of Medgar Evers and worried that they’d be killed for telling their stories, is a reason for any “bad things” that they can be proud of: Skeeter’s career. So little change, so much love.\u003c/p>\n\u003cp>Where there’s anything remedied in \u003cem>The Help\u003c/em> at all, it’s racism seen as an accumulation of intimate cruelties that can—that could—be remedied without white employers giving up anything except their viciousness. You can go through the movie and separate every white woman in it into one of two categories: “is mean” and “is nice.” And moving those women along that continuum (like Skeeter’s mother) or punishing them for where they lie along it (like Hilly) is the focus of the film’s emotional attention.\u003c/p>\n\u003cp>This is particularly painful because the ability to have and sustain personal and intimate feelings of love—whether platonic, romantic or familial—has long been presented in popular culture as justice in miniature, such that equality is defined as a hug heard ’round the world. In fact, there’s an entire genre of film in which white people have the transformative experience of loving and being loved by Black people, and they are treated as movies that speak in some way to race. These stories arrive and arrive, and they have for decades. Some are better than others, but they are often (though not always) rewarded with audience enthusiasm, awards or both: \u003cem>The Help\u003c/em>, \u003cem>The Green Mile\u003c/em>, \u003cem>The Blind Side\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Guess Who’s Coming To Dinner?\u003c/em> They’ve resulted in awards for a goodly number of white directors and white writers, serving as a ticket to a kind of respectability.\u003c/p>\n\u003cp>It calls to mind a tweet from Dan Hauge in 2017 that’s been shared a couple of times since by the writer and NPR \u003cem>Code Switch \u003c/em>host Gene Demby. Hauge \u003ca href=\"https://twitter.com/danhauge/status/897097773727797248\" target=\"_blank\" rel=\"noopener noreferrer\">made the point\u003c/a> that white people often “imagine the endgame of anti-racism as harmonious relationships rather than equal power to shape society.” \u003cem>The Help\u003c/em> has precisely this focus on emotional reconciliations—on combating injustice by letting people talk about their feelings and tell you what it’s like to be them, and then leaving it at that.\u003c/p>\n\u003cp>It makes sense that in the world of camera phones, this phenomenon within studio filmmaking would have a mobile counterpart. And it does: the fixation, during any time in which discussions of systemic racism are prominent, on photos of individual black people and white people hugging or clasping hands, particularly if the white person is a police officer. Perhaps there is an audience for \u003cem>The Help \u003c/em>for the same reason there is an audience for multiracial police hugs: when that audience tries to envision uprooting systemic injustice, they begin (and often end) at the level of the personal relationship. They envision a one-by-one transformation in which they are, for more and more and more people, the white person who is the beloved friend and not the person who fully deserves the pie full of [excrement]. And after long enough, the changes in government or media or human rights follow naturally.\u003c/p>\n\u003cp>But the transition from more loving personal relationships to more just structural ones is uphill, not down. Focusing on your personal relationships to the exclusion of considering bigger issues can bend your perspective; it’s part of what the reviled cliché “some of my best friends are Black” is all about. It’s easy to dream of being a Skeeter and easy to emerge as a Sal: at your best, a companion. At your worst, a danger. [aside postid='arts_13880973']\u003c/p>\n\u003cp>There’s no hug at the end of \u003cem>Do The Right Thing\u003c/em>. Mookie shows up to get his pay from Sal while Sal is sitting on the front step of his burned pizzeria. Mookie may have been like a son to Sal, but Mookie is not there to offer comfort; he wants his money. Sal doesn’t get any buy-in whatsoever from Mookie on his theory that a kid who just watched his friend choked to death should sympathize with his lost power outlets and burned tile. If anything, Sal and Mookie both are clear at the end of the movie on the fact that fondness, history and amiable companionship are ultimately unable to sustain individual personal connections in the absence of a shared fate.\u003c/p>\n\u003cp>What should you aspire to if you are on the side of a system that gives you power and makes you the person more likely to be believed, less likely to be killed, more likely to own property and be the boss, less likely to bite your tongue over your low wages? Should you aspire to personal connection? Or should you aspire to a world in which your maid is free to love you or not? Maybe it’s not about justice for the person who raises you, raises your daughter, is like a son to you, or tells you you’re kind and smart and important. Maybe it’s about justice for the person you walk by, who walks by you, who can take or leave you.\u003c/p>\n\u003cp>In a society that’s fair, the right to move through the world on equal footing is not contingent on a network of personal bonds. It belongs to the extrovert, the introvert, the hugger, the stranger, and honestly, the complete jerk. Broader matters of justice are not addressed by the presence of kindness within broken systems. Obviously, kindness is always better than unkindness, and love better than no love, all other things being equal.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s that last part that so many stories—including \u003cem>The Help\u003c/em>—leave out.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aibileen+And+Skeeter+And+Mookie+And+Sal%3A+Love%2C+Work+And+Watching+%27The+Help%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Help \u003c/em>shot up the Netflix charts over the last week after Netflix added it on June 1, and I’ve been trying to wrap my head around it ever since. What, I wondered, other than the most general aspiration to engage with the idea of racism, could make this the the time to watch \u003cem>The Help\u003c/em>, a 2011 film (based on a 2009 novel) about a white journalist who gets her big break passing along stories told to her by black maids in 1963? A movie Viola Davis regrets appearing in, because the maids’ voices weren’t placed at the center of the story? Based on a book that \u003ca href=\"https://www.washingtonpost.com/blogs/celebritology/post/the-help-lawsuit-against-kathryn-stockett-dismissed/2011/08/16/gIQAiCWqJJ_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">got its author sued\u003c/a>? Sure, Netflix added it, Netflix promoted it—but an awful lot of people decided to watch it.\u003c/p>\n\u003cp>But let’s put a pin in that for a minute, and let’s talk about Mookie and Sal.\u003c/p>\n\u003cp>It’s been hard not to think about Spike Lee’s 1989 classic \u003cem>Do The Right Thing\u003c/em> over the last two weeks, let alone the last ten years. The images are stark: the police officer killing Radio Raheem with a chokehold as the kid’s feet twitch above the pavement, Mookie throwing a trash can through the window of Sal’s Famous Pizzeria, the searing heat that’s present in the images of a blisteringly hot day, and later in the crackle of a fire. That fire, those fire hoses, that police car speeding off with Radio Raheem’s body stuffed in the back. And, of course, a block full of people in grief and anger from whom the police flee, leaving behind a situation where they have no idea what’s about to happen, but what matters is that they won’t be there for it.\u003c/p>\n\u003cp>Watching it again, though, I was struck by something else that seemed just as important: its ambivalence—really, its deep \u003cem>skepticism—\u003c/em>about the relationship between Mookie (Lee) and Sal (Danny Aiello), who runs the place where Mookie works delivering pizzas. Because it’s a skepticism that doesn’t start with a broken window.\u003c/p>\n\u003cp>\u003cstrong>Mookie and Sal\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BT2al2t2jnU'\n title='//www.youtube.com/embed/BT2al2t2jnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is a kind of love Sal would likely say he has for Mookie—that he would say he has for the whole Bed-Stuy neighborhood where he’s been in business for 25 years. He sits down by his front window and gives a speech to his vocally bigoted son Pino (John Turturro) about why he will not relocate, despite Pino’s hatred of the clientele. In it, Sal speaks with convincing warmth, as the camera gently approaches the table and the window and the people outside, about how much it means to him that the black kids on the block have grown up eating his pizza. He will later tell Mookie that even after Pino and Vito take over the business, Mookie always have “a place” there, because he’s “like a son” to him. It’s not true: Mookie is nothing like a son to him. Sal’s fondness for Mookie, like his fondness for the rest of his customers may be real, but it’s also brittle, prone to shattering. His love for his sons, on the other hand, would survive anything.\u003c/p>\n\u003cp>Whether, and how, this affection is returned is just as complicated. Sal’s is an institution, enough that when Buggin’ Out (Giancarlo Esposito) tries to organize a boycott of Sal’s over the lack of black faces on his Wall of Fame, there are initially no takers. The people in the neighborhood like Sal, they feel at home in his place, and they like the pizza. Buggin’ Out is treated like something of a radical even by his friends, who just aren’t up for a boycott on a miserably hot summer day. What’s boycotting Sal going to do for anyone?\u003c/p>\n\u003cp>At the same time, Mookie receives Sal’s words with a sort of aggravated impatience. He’s working. They can share a laugh, but he’s working.\u003c/p>\n\u003cp>To summarize the agonizing ending of the film: When four of those same neighborhood customers arrive just after closing that night, Sal has a reluctant Mookie, who just wants to go home, let them in for a slice. Buggin’ Out, now accompanied by Radio Raheem, comes in behind them. Earlier in the day, Radio Raheem and Sal had a confrontation over Sal’s insistence that there be no music in the pizzeria. Now, the music is back, blasting from the radio, even louder. The yelling starts. Sal picks up his bat and destroys the radio that’s both an expensive piece of personal property and a key to Raheem’s identity. So despite the broken window, the looting and the fire that so troubled some of the early commentators on the film, the first person who takes it upon himself to break someone else’s stuff out of anger is Sal. And he does it for no better reason than that two guys who grew up on his pizza won’t stop blasting, as he puts it, “jungle music.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now Radio Raheem grabs Sal, pulls him across the counter, and gets the better of their physical fight. The police arrive, and they kill Radio Raheem with a chokehold as onlookers beg them to stop. The police grab Radio Raheem’s body and speed away. The block pulses with grief and frustration. Mookie walks across the street to a trashcan, takes off the lid, removes the bag, kicks the lid away, carries the trashcan across the street and puts it through the window. The place is looted and burned.\u003c/p>\n\u003cp>Before all this, there’s a kind of love, a \u003cem>kind\u003c/em>, that connects Sal with these customers he thinks of as kids, like a spider web with only a few threads. It’s part of why they came for pizza after closing, and it’s part of why Sal let them in. But if you can call it love, it’s the companionable love that comes from a shared history, not the more durable love that can come from a shared fate.\u003c/p>\n\u003cp>It’s possible to read \u003cem>Do The Right Thing\u003c/em> as a story in which everyone loses, where that’s the bedrock tragedy of racism: relationships are shattered, Sal sees his business burn, Radio Raheem dies. Bad for everyone, the end. This is the way Sal tries to tell the story to Mookie the next morning—it’s Buggin’ Out’s fault, because he started a fight when he didn’t have to, and now everyone suffered. Danny Aiello speaks from the chest as he points out that he built his business with his own hands—every light socket, he says, and every tile—and now it’s all gone.\u003c/p>\n\u003cp>But, in fact, Sal and the customers in the neighborhood have never had the same things at stake. There are elements of back and forth: Sal can break Radio Raheem’s radio; Mookie can break Sal’s window. Radio Raheem and Sal can fight, scrap on the ground, scream at each other. Buggin’ Out throws slurs at Sal; Sal throws slurs at Radio Raheem, infuriating the four who came in for those closing-bell slices.\u003c/p>\n\u003cp>Nevertheless, Sal and Mookie (like Sal and Radio Raheem) lack a fully shared fate. For Sal, this block is where people work for him and buy things from him. For Mookie, it’s where he lives, a largely black neighborhood where he works for a white-owned business. And also, of course, their odds are different in any confrontation because the police have an official monopoly on legal violence (to paraphrase Jill Leovy’s excellent book \u003cem>Ghettoside\u003c/em>, about murders that are and are not solved). “Can we all get along?”, after all, is a sentiment best remembered alongside the fact that the man who uttered it did so after his own beating. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People have written for years about what makes \u003cem>Do The Right Thing “\u003c/em>provocative,” and in 1989, \u003ca href=\"https://www.complex.com/pop-culture/2014/07/critics-reviews-do-the-right-thing/david-denby-do-the-right-thing-review\" target=\"_blank\" rel=\"noopener noreferrer\">there were critics who seem to have been aghast\u003c/a> at their suspicion that Lee sympathized with the people burning down Sal’s pizzeria. (Some of the response was more appalling than this; Murray Kempton in the \u003cem>New York Review Of Books \u003c/em>\u003ca href=\"https://www.nybooks.com/articles/1989/09/28/the-pizza-is-burning/\" target=\"_blank\" rel=\"noopener noreferrer\">somewhat [in]famously wrote\u003c/a> that Sal was the protagonist of the piece, Mookie such an “inferior specimen of a great race” that he couldn’t even serve as a decent antagonist, and the film best understood as the story of Sal’s sad realization that he was a dreamer and his grotesquely racist son who peppered his speech with slurs was merely the “realist.”)\u003c/p>\n\u003cp>But I wonder whether one thing that made the film feel radical—and unsettling—was revealing the limits of Sal’s relationship with Mookie. In fact, Sal’s line, “You’ve always been like a son to me,” is the last thing you hear before the four friends show up outside wanting their four slices and Sal lets them in—the first in the chain of events that leads to a young man’s death.\u003c/p>\n\u003cp>Viewers have interpreted Mookie throwing the trashcan in a variety of ways; there are critical journal articles about it. Maybe he’s acting on impulse, maybe he’s acting out of longstanding anger, maybe he’s an avatar for Lee himself hurling a trashcan at established filmmaking, or maybe he’s encouraging the rage to be directed at the pizzeria rather than have people turn it against Sal and his sons, which saves their lives. But whatever else it does, throwing that trashcan is the end of any relationship in which Sal would ever say, “You’ve always been like a son to me.” Maybe it’s not just the trashcan itself that turns a segment of white viewers against Mookie and the crowd in the street; maybe it’s that he doesn’t appreciate what Sal considers to be genuine love that, to paraphrase Kempton, Mookie doesn’t even remotely deserve.\u003c/p>\n\u003cp>\u003cstrong>Aibileen and Skeeter\u003c/strong>\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/aT9eWGjLv6s'\n title='//www.youtube.com/embed/aT9eWGjLv6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All the skepticism about love that’s present in \u003cem>Do The Right Thing \u003c/em>is absent from \u003cem>The Help\u003c/em>.\u003c/p>\n\u003cp>Admittedly, finding the parallels between these films is like finding the parallels between a wetsuit and a jumpsuit: You can kind of understand how they’d be in the same conversation, but you’d have to have both eyes closed to mistake one for the other. Nevertheless, when you see the quasi-familial parent-child bond that breaks apart in \u003cem>Do The Right Thing\u003c/em>, it draws out what \u003cem>The Help\u003c/em> has elided that makes it a bizarre but predictable comfort watch for a lot of—and this is speculation, given the opacity of Netflix numbers, but I stand by it—white people who sent it flying up the charts. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Help \u003c/em>is about race, yes; it even has a handful of superficial narrative parallels with \u003cem>Do The Right Thing\u003c/em>. (Again, jumpsuit/wetsuit. Maybe even spacesuit.) After all, \u003cem>The Help \u003c/em>also shows close personal relationships between black people and white people, growing out of employment, built over years, that end in cathartic responses that offend, or wound, or mortify white employers. A black maid in \u003cem>The Help\u003c/em> literally feeds her own [excrement] to her hateful, bigoted boss. And contrary to the frustrated reminder Mookie issues Sal after the fire about the fact that he’ll be compensated for his losses, there is no insurance check to compensate for eating [excrement].\u003c/p>\n\u003cp>But \u003cem>The Help\u003c/em> presents itself as warm, funny, “uplifting.” It is not, to say the least, “provocative.” Some of its trailers present it as half wacky comedy, half go-get-’em underdog movie, where it’s the good guys (the maids plus Emma Stone) versus the bad guys (the mean white employers in town, particularly the wicked Hilly, played by Bryce Dallas Howard). The trailer promises that the relationship between Skeeter (Stone) and Aibileen is “an unexpected friendship [that] will change everything.”\u003c/p>\n\u003cp>In analytical terms: “Yyyyyyikes.”\u003c/p>\n\u003cp>Perhaps “unlikely” is right, but “friendship” is awfully curious. Because here’s how they meet: Skeeter gets a job writing a happy-homemaker column that she’s not qualified to write, so she asks Aibileen, her friend’s maid, to be her entirely unpaid ghostwriter. It’s while benefiting from this unpaid labor (that she herself is being paid to do!) that Skeeter decides she wants to write a book about maids. And she wants Aibileen to stick her neck way, way out by sharing her experiences working for white families. So, yes, I’ll say it’s “unlikely,” in that it’s a rare friendship that begins with the party of the first part persuading the party of the second part to risk life and limb by excavating her history of being traumatized for free. (Skeeter will eventually share the money for the book with the maids, but this is not negotiated, transforming it into a magnanimous and unexpected act by Skeeter rather than literally the least she could do for women placing themselves at such risk.)\u003c/p>\n\u003cp>It’s probably overly nitpicky to add that given that this all takes place in 1963, an awful lot of people would doubtless be surprised to hear that it “changed everything.”\u003c/p>\n\u003cp>\u003cstrong>Money Can’t Buy You Love\u003c/strong>\u003c/p>\n\u003cp>Skeeter, oh, Skeeter. One much-discussed element of \u003cem>The Help\u003c/em>‘s racial politics is the role of the white savior. Take it away, \u003ca href=\"http://archive.boston.com/ae/movies/articles/2011/08/10/race_class_and_hollywood_gloss_in_the_help/?page=2\" target=\"_blank\" rel=\"noopener noreferrer\">critic Wesley Morris\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Skeeter’s exposé is meant to empower both the subjects and the author, but \u003cem>The Help\u003c/em> joins everything from \u003cem>To Kill a Mockingbird\u003c/em> to \u003cem>The Blind Side\u003c/em> as another Hollywood movie that sees racial progress as the province of white do-gooderism. Skeeter enjoys all the self-discovery and all the credit. She cracks the mystery of her missing childhood maid (Cicely Tyson). She finds a career at a moment in which women rarely had them. And she changes the lives of a couple of dozen black women whose change is refracted primarily through her. Skeeter’s awakening is a seemingly risk-free reassurance, just as Hilly’s Hanna-Barbera villainy is a kind of delight. [Hilly is the monstrous, most overtly racist woman played by Bryce Dallas Howard.]\u003c/p>\u003c/blockquote>\n\u003cp>For sure, Skeeter is a classic film/television white savior. She couldn’t be more so if she had an S on her chest. But there’s something else that’s profoundly amiss at the center of \u003cem>The Help\u003c/em>, and it’s the privileging of personal feelings and the utter failure to reckon with any of the realities of the power relationships between employees and employers—whether those employers are personally benevolent or not—that are so painfully evident in the relationship between Sal and Mookie. \u003c/p>\n\u003cp>In \u003cem>The Help\u003c/em>, the love between maids and the children they raised, and in some cases the love between maids and adults they work for, exists outside structural inequalities and is affected by little other than personal cruelty or kindness. Far from being made of those fragile threads between Sal and the Bed-Stuy customers, the love between those with less power and those with more is the film’s spine. Like Mookie, Aibileen can tell you exactly how much she makes in her economic exchange with her employer—she makes $182 a month; Mookie makes $250 a week—but for her, that’s separate from the love that has connected her to the 17 white children she’s raised. In fact, one of the things that marks Skeeter’s mother (Allison Janney) as a villain is that she tells Skeeter that the maids are just employees—”We were just a job to her. With them, it’s all about money.” Obviously, this is racist, the way she says “them,” and so forth. But what is so awful, in principle, about the idea that the heart of your relationship with someone you employ is economic? Why must Skeeter prove to her terrible mother that no, being a maid is about \u003cem>love\u003c/em>?\u003c/p>\n\u003cp>Minny (Octavia Spencer) actually explains at one point that maids always love the kids they raise, until those kids grow up to be like their parents. And this is the betrayal we are led to believe hurts the most: the personal betrayal, not the systemic. Not the fact that Minny has to teach her \u003cem>own\u003c/em> daughter how to step carefully around racist employers (don’t let your hand touch theirs, don’t mingle your dishes with theirs), but the fracturing of the bond between maids and other people’s daughters. This conceptual muddle is evident when Minny starts talking about how difficult the job is and mentions not getting minimum wage or Social Security. Skeeter says maybe things can change. “What law’s gonna say you got to be nice to your maid?” Minny snaps. And of course, no law is going to regulate niceness. But I can think of some that might address whether you get minimum wage and Social Security. Paying minimum wage isn’t important because it’s \u003cem>nice;\u003c/em> it’s important because it’s \u003cem>just\u003c/em>. The film’s porous boundary between issues of economic justice and personal affection reappears over and over.\u003c/p>\n\u003cp>Skeeter has this fixation on love as well, particularly as regards the maid who raised her, Constantine. (Constantine is played by towering legend Cicely Tyson, making this as good a time as any to acknowledge that for all its narrative weaknesses, \u003cem>The Help \u003c/em>is full of brilliant actors.) Skeeter’s original framing of the issue of the maids, as she explains it to her putative editor (Mary Steenburgen), is that the situation with the maids needs to be talked about more, because, as she puts it: “We love them and they love us, but they can’t even use the toilets in our houses.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Skeeter fails to consider the following explanation for this seeming contradiction: Maybe if they can’t use the toilets in your house, you don’t love them. And maybe some of the way they treat you is for money. \u003cem>Maybe they don’t love you.\u003c/em> If that’s the case, then maybe it’s not a matter of mistreating people you love; maybe it’s a matter of paying people for work, treating them miserably, and being so toweringly presumptuous as to assume the natural state of things is for them to love you.\u003c/p>\n\u003cp>Let’s be clear: This is not to say, by any means, that it’s unlikely, let alone impossible, for a person who works for someone to also love them, or to cast aspersions on the genuine love that maids and nannies and teachers and other people paid to care for children can feel for them. Far from it. But for love to be meaningful and aspirational, doesn’t it have to be given in circumstances allowing both dignity and agency? Otherwise, it is brittle. It shatters under pressure. In this version of 1963 Mississippi, when some maids are “inherited” such that the right to employ them is “owned” by one family, and when a maid can be ruined by an accusation of theft whether true or false, how can Skeeter assert of those maids, “We love them and they love us”? What kind of a fantasy, and whose fantasy, is that? And why does the film seemingly assert that \u003cem>as long as the employer is nice\u003c/em>, Skeeter is right?\u003c/p>\n\u003cp>Get this, if you’ve forgotten: After Skeeter has blown up a bunch of maids’ lives by publishing their stories, she gets a job offer in New York and tells Minny and Aibileen that she isn’t taking it, because she doesn’t feel like she can just create all this chaos and danger for them and then pop off to New York. (One of her few good instincts.) The maids, in perhaps the movie’s weirdest scene, assure her that she must go. She’s right to go. They have gone through so much, after all, and “If bad things happen, ain’t nothin’ you can do about it,” Aibileen says. “And now it’s for a reason we can be proud of.” This, after they’ve endured the assassination of Medgar Evers and worried that they’d be killed for telling their stories, is a reason for any “bad things” that they can be proud of: Skeeter’s career. So little change, so much love.\u003c/p>\n\u003cp>Where there’s anything remedied in \u003cem>The Help\u003c/em> at all, it’s racism seen as an accumulation of intimate cruelties that can—that could—be remedied without white employers giving up anything except their viciousness. You can go through the movie and separate every white woman in it into one of two categories: “is mean” and “is nice.” And moving those women along that continuum (like Skeeter’s mother) or punishing them for where they lie along it (like Hilly) is the focus of the film’s emotional attention.\u003c/p>\n\u003cp>This is particularly painful because the ability to have and sustain personal and intimate feelings of love—whether platonic, romantic or familial—has long been presented in popular culture as justice in miniature, such that equality is defined as a hug heard ’round the world. In fact, there’s an entire genre of film in which white people have the transformative experience of loving and being loved by Black people, and they are treated as movies that speak in some way to race. These stories arrive and arrive, and they have for decades. Some are better than others, but they are often (though not always) rewarded with audience enthusiasm, awards or both: \u003cem>The Help\u003c/em>, \u003cem>The Green Mile\u003c/em>, \u003cem>The Blind Side\u003c/em>, \u003cem>Green Book\u003c/em>, \u003cem>Guess Who’s Coming To Dinner?\u003c/em> They’ve resulted in awards for a goodly number of white directors and white writers, serving as a ticket to a kind of respectability.\u003c/p>\n\u003cp>It calls to mind a tweet from Dan Hauge in 2017 that’s been shared a couple of times since by the writer and NPR \u003cem>Code Switch \u003c/em>host Gene Demby. Hauge \u003ca href=\"https://twitter.com/danhauge/status/897097773727797248\" target=\"_blank\" rel=\"noopener noreferrer\">made the point\u003c/a> that white people often “imagine the endgame of anti-racism as harmonious relationships rather than equal power to shape society.” \u003cem>The Help\u003c/em> has precisely this focus on emotional reconciliations—on combating injustice by letting people talk about their feelings and tell you what it’s like to be them, and then leaving it at that.\u003c/p>\n\u003cp>It makes sense that in the world of camera phones, this phenomenon within studio filmmaking would have a mobile counterpart. And it does: the fixation, during any time in which discussions of systemic racism are prominent, on photos of individual black people and white people hugging or clasping hands, particularly if the white person is a police officer. Perhaps there is an audience for \u003cem>The Help \u003c/em>for the same reason there is an audience for multiracial police hugs: when that audience tries to envision uprooting systemic injustice, they begin (and often end) at the level of the personal relationship. They envision a one-by-one transformation in which they are, for more and more and more people, the white person who is the beloved friend and not the person who fully deserves the pie full of [excrement]. And after long enough, the changes in government or media or human rights follow naturally.\u003c/p>\n\u003cp>But the transition from more loving personal relationships to more just structural ones is uphill, not down. Focusing on your personal relationships to the exclusion of considering bigger issues can bend your perspective; it’s part of what the reviled cliché “some of my best friends are Black” is all about. It’s easy to dream of being a Skeeter and easy to emerge as a Sal: at your best, a companion. At your worst, a danger. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s no hug at the end of \u003cem>Do The Right Thing\u003c/em>. Mookie shows up to get his pay from Sal while Sal is sitting on the front step of his burned pizzeria. Mookie may have been like a son to Sal, but Mookie is not there to offer comfort; he wants his money. Sal doesn’t get any buy-in whatsoever from Mookie on his theory that a kid who just watched his friend choked to death should sympathize with his lost power outlets and burned tile. If anything, Sal and Mookie both are clear at the end of the movie on the fact that fondness, history and amiable companionship are ultimately unable to sustain individual personal connections in the absence of a shared fate.\u003c/p>\n\u003cp>What should you aspire to if you are on the side of a system that gives you power and makes you the person more likely to be believed, less likely to be killed, more likely to own property and be the boss, less likely to bite your tongue over your low wages? Should you aspire to personal connection? Or should you aspire to a world in which your maid is free to love you or not? Maybe it’s not about justice for the person who raises you, raises your daughter, is like a son to you, or tells you you’re kind and smart and important. Maybe it’s about justice for the person you walk by, who walks by you, who can take or leave you.\u003c/p>\n\u003cp>In a society that’s fair, the right to move through the world on equal footing is not contingent on a network of personal bonds. It belongs to the extrovert, the introvert, the hugger, the stranger, and honestly, the complete jerk. Broader matters of justice are not addressed by the presence of kindness within broken systems. Obviously, kindness is always better than unkindness, and love better than no love, all other things being equal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s that last part that so many stories—including \u003cem>The Help\u003c/em>—leave out.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aibileen+And+Skeeter+And+Mookie+And+Sal%3A+Love%2C+Work+And+Watching+%27The+Help%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Da 5 Bloods' is a Platoon Picture, Heist Thriller and History Lesson",
"headTitle": "‘Da 5 Bloods’ is a Platoon Picture, Heist Thriller and History Lesson | KQED",
"content": "\u003cp>Spike Lee’s \u003cem>Da 5 Bloods\u003c/em> was supposed to open in select theaters, until the COVID-19 pandemic hit and forced Netflix to change its plans. You could call that unfortunate timing, except that amid \u003ca href=\"https://www.npr.org/sections/pictureshow/2020/05/31/866345845/photos-protests-in-response-to-the-death-of-george-floyd-shake-the-nation\" target=\"_blank\" rel=\"noopener noreferrer\">nationwide protests\u003c/a> against racism and police violence, the movie could hardly be timelier.\u003c/p>\n\u003cp>Lee has never been shy about confronting these subjects in films like \u003cem>Do the Right Thing\u003c/em>, \u003cem>Malcolm X\u003c/em> and the recent \u003ca href=\"https://www.npr.org/2018/08/09/636856957/spike-lee-checks-under-the-hood-in-the-blistering-blackkklansman\">\u003cem>BlacKkKlansman\u003c/em>\u003c/a>\u003cem>. \u003c/em>His latest—even though it takes place in present-day Vietnam—is no exception.\u003c/p>\n\u003cp>\u003cem>Da 5 Bloods\u003c/em> follows a group of black war veterans who fought together in Vietnam in 1971. Now four of them have returned to that country decades later. Their reunion in Ho Chi Minh City begins on a funny, celebratory note. Clarke Peters plays Otis, the cool-headed planner behind their trip. Isiah Whitlock Jr. and Norm Lewis are Melvin and Eddie, on hand to provide warm vibes and comic relief.\u003c/p>\n\u003cp>And then there’s Paul, played in a stand-out performance by Delroy Lindo, a fixture of Lee’s ’90s films like \u003cem>Crooklyn\u003c/em>. Paul’s post-war life has been full of loss and disappointment, and he emerges as the movie’s most complicated and emotionally ravaged character.\u003c/p>\n\u003cp>The fifth Blood is their squad leader, affectionately known as “Stormin’ Norman,” who was killed in combat in ’71. His death still haunts all of them, especially Paul, who is consumed with guilt for not having saved his comrade’s life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stormin’ Norman is played by the charismatic \u003ca href=\"https://www.npr.org/2018/05/13/610826196/black-panther-star-chadwick-boseman-lauds-student-activism-in-howard-commencemen\" target=\"_blank\" rel=\"noopener noreferrer\">Chadwick Boseman\u003c/a> of \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> in several exciting, combat-heavy flashbacks. We see Norman and the other four Bloods being sent into the Vietnamese jungle to recover a stash of gold bars from a downed U.S. plane. The gold is meant to buy the allegiance of local fighters against the Viet Cong, but the Bloods, upon finding it, make other plans.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D5RDTPfsLAI\u003c/p>\n\u003cp>The screenplay is credited to Lee, Kevin Willmott, Danny Bilson and Paul De Meo, and it lays out the Bloods’ rationale with unsurprising bluntness, sometimes cutting away from the story to provide historical context, and sometimes injecting that context into the characters’ own dialogue. They talk about the horrors of slavery, the struggles of the civil rights movement and the grossly disproportionate number of black soldiers who were sent to fight and die in Vietnam. And so the Bloods, making their own case for reparations, decide to bury the gold and return for it at a later date, vowing to use it to benefit their communities.\u003c/p>\n\u003cp>Lee loves his polemics, but he also loves classic Hollywood, and for all its urgency, \u003cem>Da 5 Bloods \u003c/em>plays like an old-fashioned action-adventure saga, complete with references to films like \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Treasure of the Sierra Madre\u003c/em>. Personally, it reminded me of \u003ca href=\"https://www.npr.org/2014/07/10/330291891/filmed-over-12-years-boyhood-follows-a-kids-coming-of-age\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a>‘s Vietnam-vet drama \u003ca href=\"https://www.npr.org/2017/11/02/560377446/in-last-flag-flying-the-horror-of-war-is-brought-home-literally\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Flag Flying\u003c/em>\u003c/a>, with a bit of \u003cem>Rambo-\u003c/em>esque carnage sprinkled in. It’s also a companion piece to Lee’s World War II drama \u003cem>Miracle at St. Anna\u003c/em>, another critique of the U.S.’ long, shameful history of devaluing its black soldiers.\u003c/p>\n\u003cp>At 2 hours and 35 minutes, \u003cem>Da 5 Bloods\u003c/em> is an unwieldy sprawl: It’s like a platoon picture, a heist thriller, a history lesson and a grumpy-old-men comedy rolled into one, spliced together with documentary footage and a Marvin Gaye-heavy soundtrack.\u003c/p>\n\u003cp>There are a lot of supporting characters, too, including a Vietnamese businesswoman whom Otis knew during the war and three humanitarian workers who specialize in clearing old land mines. One key subplot involves Paul’s son, played by Jonathan Majors from last year’s \u003ca href=\"https://www.npr.org/2019/06/06/729778759/the-last-black-man-in-san-francisco-is-a-ravishing-achingly-heartfelt-elegy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>. He tags along for the trip, and his strained relationship with his dad adds a dose of melodrama to a picture that’s already bursting at the seams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even at its most unwieldy, I found it easy to forgive \u003cem>Da 5 Bloods \u003c/em>its excesses, and to simply go along with these characters on their wildly unpredictable and ultimately devastating journey. You could accuse Spike Lee of trying to do and say too much, and you wouldn’t be the first one to do so: He can be a maddeningly undisciplined storyteller, but also a generous and thoughtful one. There’s something both moving and essential about his attempt to reclaim the Vietnam War film from a black perspective. He’s made a loving throwback to the Hollywood war movies of yesteryear that can’t help but make you think about all the stories those movies never got around to telling.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee%27s+%27Da+5+Bloods%27+Is+A+Platoon+Picture%2C+Heist+Thriller+And+History+Lesson+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spike Lee’s \u003cem>Da 5 Bloods\u003c/em> was supposed to open in select theaters, until the COVID-19 pandemic hit and forced Netflix to change its plans. You could call that unfortunate timing, except that amid \u003ca href=\"https://www.npr.org/sections/pictureshow/2020/05/31/866345845/photos-protests-in-response-to-the-death-of-george-floyd-shake-the-nation\" target=\"_blank\" rel=\"noopener noreferrer\">nationwide protests\u003c/a> against racism and police violence, the movie could hardly be timelier.\u003c/p>\n\u003cp>Lee has never been shy about confronting these subjects in films like \u003cem>Do the Right Thing\u003c/em>, \u003cem>Malcolm X\u003c/em> and the recent \u003ca href=\"https://www.npr.org/2018/08/09/636856957/spike-lee-checks-under-the-hood-in-the-blistering-blackkklansman\">\u003cem>BlacKkKlansman\u003c/em>\u003c/a>\u003cem>. \u003c/em>His latest—even though it takes place in present-day Vietnam—is no exception.\u003c/p>\n\u003cp>\u003cem>Da 5 Bloods\u003c/em> follows a group of black war veterans who fought together in Vietnam in 1971. Now four of them have returned to that country decades later. Their reunion in Ho Chi Minh City begins on a funny, celebratory note. Clarke Peters plays Otis, the cool-headed planner behind their trip. Isiah Whitlock Jr. and Norm Lewis are Melvin and Eddie, on hand to provide warm vibes and comic relief.\u003c/p>\n\u003cp>And then there’s Paul, played in a stand-out performance by Delroy Lindo, a fixture of Lee’s ’90s films like \u003cem>Crooklyn\u003c/em>. Paul’s post-war life has been full of loss and disappointment, and he emerges as the movie’s most complicated and emotionally ravaged character.\u003c/p>\n\u003cp>The fifth Blood is their squad leader, affectionately known as “Stormin’ Norman,” who was killed in combat in ’71. His death still haunts all of them, especially Paul, who is consumed with guilt for not having saved his comrade’s life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stormin’ Norman is played by the charismatic \u003ca href=\"https://www.npr.org/2018/05/13/610826196/black-panther-star-chadwick-boseman-lauds-student-activism-in-howard-commencemen\" target=\"_blank\" rel=\"noopener noreferrer\">Chadwick Boseman\u003c/a> of \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em>\u003c/a> in several exciting, combat-heavy flashbacks. We see Norman and the other four Bloods being sent into the Vietnamese jungle to recover a stash of gold bars from a downed U.S. plane. The gold is meant to buy the allegiance of local fighters against the Viet Cong, but the Bloods, upon finding it, make other plans.\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/D5RDTPfsLAI'\n title='//www.youtube.com/embed/D5RDTPfsLAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The screenplay is credited to Lee, Kevin Willmott, Danny Bilson and Paul De Meo, and it lays out the Bloods’ rationale with unsurprising bluntness, sometimes cutting away from the story to provide historical context, and sometimes injecting that context into the characters’ own dialogue. They talk about the horrors of slavery, the struggles of the civil rights movement and the grossly disproportionate number of black soldiers who were sent to fight and die in Vietnam. And so the Bloods, making their own case for reparations, decide to bury the gold and return for it at a later date, vowing to use it to benefit their communities.\u003c/p>\n\u003cp>Lee loves his polemics, but he also loves classic Hollywood, and for all its urgency, \u003cem>Da 5 Bloods \u003c/em>plays like an old-fashioned action-adventure saga, complete with references to films like \u003cem>Apocalypse Now\u003c/em> and \u003cem>The Treasure of the Sierra Madre\u003c/em>. Personally, it reminded me of \u003ca href=\"https://www.npr.org/2014/07/10/330291891/filmed-over-12-years-boyhood-follows-a-kids-coming-of-age\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Linklater\u003c/a>‘s Vietnam-vet drama \u003ca href=\"https://www.npr.org/2017/11/02/560377446/in-last-flag-flying-the-horror-of-war-is-brought-home-literally\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Flag Flying\u003c/em>\u003c/a>, with a bit of \u003cem>Rambo-\u003c/em>esque carnage sprinkled in. It’s also a companion piece to Lee’s World War II drama \u003cem>Miracle at St. Anna\u003c/em>, another critique of the U.S.’ long, shameful history of devaluing its black soldiers.\u003c/p>\n\u003cp>At 2 hours and 35 minutes, \u003cem>Da 5 Bloods\u003c/em> is an unwieldy sprawl: It’s like a platoon picture, a heist thriller, a history lesson and a grumpy-old-men comedy rolled into one, spliced together with documentary footage and a Marvin Gaye-heavy soundtrack.\u003c/p>\n\u003cp>There are a lot of supporting characters, too, including a Vietnamese businesswoman whom Otis knew during the war and three humanitarian workers who specialize in clearing old land mines. One key subplot involves Paul’s son, played by Jonathan Majors from last year’s \u003ca href=\"https://www.npr.org/2019/06/06/729778759/the-last-black-man-in-san-francisco-is-a-ravishing-achingly-heartfelt-elegy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>. He tags along for the trip, and his strained relationship with his dad adds a dose of melodrama to a picture that’s already bursting at the seams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But even at its most unwieldy, I found it easy to forgive \u003cem>Da 5 Bloods \u003c/em>its excesses, and to simply go along with these characters on their wildly unpredictable and ultimately devastating journey. You could accuse Spike Lee of trying to do and say too much, and you wouldn’t be the first one to do so: He can be a maddeningly undisciplined storyteller, but also a generous and thoughtful one. There’s something both moving and essential about his attempt to reclaim the Vietnam War film from a black perspective. He’s made a loving throwback to the Hollywood war movies of yesteryear that can’t help but make you think about all the stories those movies never got around to telling.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee%27s+%27Da+5+Bloods%27+Is+A+Platoon+Picture%2C+Heist+Thriller+And+History+Lesson+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Should We Do With Old Racist Movies on Streaming Platforms?",
"headTitle": "What Should We Do With Old Racist Movies on Streaming Platforms? | KQED",
"content": "\u003cp>Yesterday, HBO Max temporarily pulled \u003cem>Gone With the Wind\u003c/em> from its library. Announcing the decision, the channel’s statement read, “These racist depictions were wrong then and are wrong today.” It pledged to bring the 1939 movie back at a later date, alongside “a discussion of its historical context.”\u003c/p>\n\u003cp>Given the newness of the channel (it launched May 27), HBO Max’s sudden desire to denounce \u003cem>Gone With the Wind’\u003c/em>s racism feels fairly flimsy. The promotional hype for the platform was very specific about how much effort had been put into creating a high quality collection. But somehow, still, a movie awash with Black stereotypes and confederate romanticism made the cut. Why? \u003cem>Gone With the Wind\u003c/em> might be a landmark in cinema, but great production values don’t undo racist content.\u003c/p>\n\u003cp>When \u003cem>Gone With the Wind\u003c/em> does return at a later date, HBO Max says it will do so alongside “a denouncement … but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>[aside postid='arts_13881522']That approach is one already being put into practice by Disney. Last November, Disney+ abandoned its initial plans to \u003ca href=\"https://www.theguardian.com/media/2019/apr/23/disney-plus-streaming-site-will-not-offer-racist-song-of-the-south-film\" target=\"_blank\" rel=\"noopener noreferrer\">cut racist scenes\u003c/a> from its films and instead added disclaimers. Now, before you are subjected to \u003cem>Dumbo’\u003c/em>s crows or \u003cem>Lady and the Tramp’\u003c/em>s Siamese cats, viewers are warned about it. “This program is presented as originally created,” the channel tells you. “It may contain outdated cultural depictions.”\u003c/p>\n\u003cp>There is no single standard that streaming channels adhere to when it comes to overtly racist content. And maybe there should be. Because \u003ca href=\"https://en.wikipedia.org/wiki/The_Birth_of_a_Nation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birth of a Nation\u003c/em>\u003c/a>—arguably one of the most racist films in history—is currently available to stream via Dish Network’s \u003ca href=\"https://www.sling.com/movies/the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">Sling TV\u003c/a>. What’s more, the description on Sling’s website contains zero content warning—not for the glorification of the KKK, not for white actors in blackface, and not for its depiction of Black men as over-sexed savages.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead, Sling describes the film thusly: “The friendship between two families is torn apart by the developing Civil War. Fighting for opposing armies, the consequences of war are shown in their lives through major historical developments such as Lincoln’s assassination and the beginnings of the Ku Klux Klan.”\u003c/p>\n\u003cp>Given that the NAACP and \u003ca href=\"https://www.newyorker.com/culture/richard-brody/the-black-activist-who-fought-against-d-w-griffiths-the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">civil rights leaders protested\u003c/a> and boycotted the film’s release in 1915, it’s hard to fathom why any major channel would feel the need to carry it in 2020 at all—let alone without any kind of disclaimer. Before streaming, \u003cem>The Birth of a Nation\u003c/em> was relegated to college classrooms, where it was used not as entertainment, but to demonstrate a monstrous moment in history.\u003c/p>\n\u003cp>Even Disney+ has drawn a line by \u003ca href=\"https://deadline.com/2020/03/bob-iger-song-of-the-south-disney-disclaimer-1202879464/\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to stream \u003c/a>\u003cem>Song of the South. \u003c/em>The 1946 movie, most famous for the Oscar-winning “Zip-a-Dee-Doo-Dah,” has not been widely available in America since a 40th anniversary-related theatrical release in 1986. In the years since, Disney has refused to release it on DVD or Blu-ray. When Disney+ launched, and a Change.org petition was created to lobby for it to be on the channel, it failed to reach its goal of 7,500 signatures.\u003c/p>\n\u003cp>[aside postid='arts_13881199']Disney boss \u003ca href=\"https://www.newsweek.com/song-south-not-disney-plus-racist-streaming-1471186\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Iger offered an explanation\u003c/a> for the company’s unwillingness to show or sell \u003cem>Song of the South\u003c/em> in 2011. “[It] wouldn’t necessarily sit right or feel right to a number of people today,” he said, and “it wouldn’t be in the best interest of our shareholders to bring it back, even though there would be some financial gain.”\u003c/p>\n\u003cp>So why isn’t that logic applied more widely? The arguments usually touted for keeping these kinds of films around are rooted in general aversions to both censorship and the re-writing of history. But removing obviously racist content from streaming channels doesn’t erase it from our culture any more than taking down statues of slave traders wipes them from the history books. We all know these things existed, and we all know they represent a different time. So why should we still have to look at them uncritically?\u003c/p>\n\u003cp>After HBO Max’s decision to temporarily remove \u003cem>Gone With the Wind\u003c/em>, movie producer Stephanie Allain (\u003cem>Boyz n the Hood\u003c/em>, \u003cem>Hustle & Flow,\u003c/em> \u003cem>Dear White People\u003c/em>) \u003ca href=\"https://www.youtube.com/watch?v=kP7KvyJTZ3w\" target=\"_blank\" rel=\"noopener noreferrer\">told CNN\u003c/a>: “It’s part of our film history, it’s part of American history. I don’t think it can be tucked away and forgotten. I think we have to look at it. But I think it has to be looked at within the context of racism, slavery, the war and where we are today.”\u003c/p>\n\u003cp>Allain is right. An outright ban is not the answer. (Because outright bans are almost never the answer.) And yes, we should study history to better understand the present. But these cinematic artifacts belong in classrooms and libraries, not on 2020’s most popular streaming channels. There is still a mountain of material on these platforms that does people of color a disservice, whether through a general lack of accurate representation, no representation at all or via tales that center on white saviors. (To wit, \u003cem>The Help\u003c/em> has been trending on Netflix all week.)\u003c/p>\n\u003cp>[aside postid='arts_13881761']In discussing \u003cem>Gone With the Wind\u003c/em> this week, BBC media editor \u003ca href=\"https://www.bbc.com/news/entertainment-arts-52990714\" target=\"_blank\" rel=\"noopener noreferrer\">Amol Rajan noted\u003c/a>: “The issue at stake here isn’t about one film. It’s about a much broader issue of whether we judge history by modern standards, even while recognizing that what we consider to be modern standards are fluid, contested and will some day themselves be consigned to history. This might be the beginning of a new front in our culture wars, powered by digital media.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s a very optimistic suggestion given the current half-hearted approach. If we can’t get these representations off our televisions at a time where channels are scrambling to reflect the moment (\u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cops\u003c/em> is canceled\u003c/a>; \u003ca href=\"https://deadline.com/2020/06/netflix-creates-collection-of-film-tv-content-highlighting-the-black-experience-1202955269/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix has launched\u003c/a> a collection of “complex narratives about the Black experience”), when can we? When streaming platforms refuse to take decisive action, they don’t just leave us staring at a legacy we should have moved on from, they stall cultural strides forward.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yesterday, HBO Max temporarily pulled \u003cem>Gone With the Wind\u003c/em> from its library. Announcing the decision, the channel’s statement read, “These racist depictions were wrong then and are wrong today.” It pledged to bring the 1939 movie back at a later date, alongside “a discussion of its historical context.”\u003c/p>\n\u003cp>Given the newness of the channel (it launched May 27), HBO Max’s sudden desire to denounce \u003cem>Gone With the Wind’\u003c/em>s racism feels fairly flimsy. The promotional hype for the platform was very specific about how much effort had been put into creating a high quality collection. But somehow, still, a movie awash with Black stereotypes and confederate romanticism made the cut. Why? \u003cem>Gone With the Wind\u003c/em> might be a landmark in cinema, but great production values don’t undo racist content.\u003c/p>\n\u003cp>When \u003cem>Gone With the Wind\u003c/em> does return at a later date, HBO Max says it will do so alongside “a denouncement … but will be presented as it was originally created, because to do otherwise would be the same as claiming these prejudices never existed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That approach is one already being put into practice by Disney. Last November, Disney+ abandoned its initial plans to \u003ca href=\"https://www.theguardian.com/media/2019/apr/23/disney-plus-streaming-site-will-not-offer-racist-song-of-the-south-film\" target=\"_blank\" rel=\"noopener noreferrer\">cut racist scenes\u003c/a> from its films and instead added disclaimers. Now, before you are subjected to \u003cem>Dumbo’\u003c/em>s crows or \u003cem>Lady and the Tramp’\u003c/em>s Siamese cats, viewers are warned about it. “This program is presented as originally created,” the channel tells you. “It may contain outdated cultural depictions.”\u003c/p>\n\u003cp>There is no single standard that streaming channels adhere to when it comes to overtly racist content. And maybe there should be. Because \u003ca href=\"https://en.wikipedia.org/wiki/The_Birth_of_a_Nation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birth of a Nation\u003c/em>\u003c/a>—arguably one of the most racist films in history—is currently available to stream via Dish Network’s \u003ca href=\"https://www.sling.com/movies/the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">Sling TV\u003c/a>. What’s more, the description on Sling’s website contains zero content warning—not for the glorification of the KKK, not for white actors in blackface, and not for its depiction of Black men as over-sexed savages.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Sling describes the film thusly: “The friendship between two families is torn apart by the developing Civil War. Fighting for opposing armies, the consequences of war are shown in their lives through major historical developments such as Lincoln’s assassination and the beginnings of the Ku Klux Klan.”\u003c/p>\n\u003cp>Given that the NAACP and \u003ca href=\"https://www.newyorker.com/culture/richard-brody/the-black-activist-who-fought-against-d-w-griffiths-the-birth-of-a-nation\" target=\"_blank\" rel=\"noopener noreferrer\">civil rights leaders protested\u003c/a> and boycotted the film’s release in 1915, it’s hard to fathom why any major channel would feel the need to carry it in 2020 at all—let alone without any kind of disclaimer. Before streaming, \u003cem>The Birth of a Nation\u003c/em> was relegated to college classrooms, where it was used not as entertainment, but to demonstrate a monstrous moment in history.\u003c/p>\n\u003cp>Even Disney+ has drawn a line by \u003ca href=\"https://deadline.com/2020/03/bob-iger-song-of-the-south-disney-disclaimer-1202879464/\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to stream \u003c/a>\u003cem>Song of the South. \u003c/em>The 1946 movie, most famous for the Oscar-winning “Zip-a-Dee-Doo-Dah,” has not been widely available in America since a 40th anniversary-related theatrical release in 1986. In the years since, Disney has refused to release it on DVD or Blu-ray. When Disney+ launched, and a Change.org petition was created to lobby for it to be on the channel, it failed to reach its goal of 7,500 signatures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Disney boss \u003ca href=\"https://www.newsweek.com/song-south-not-disney-plus-racist-streaming-1471186\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Iger offered an explanation\u003c/a> for the company’s unwillingness to show or sell \u003cem>Song of the South\u003c/em> in 2011. “[It] wouldn’t necessarily sit right or feel right to a number of people today,” he said, and “it wouldn’t be in the best interest of our shareholders to bring it back, even though there would be some financial gain.”\u003c/p>\n\u003cp>So why isn’t that logic applied more widely? The arguments usually touted for keeping these kinds of films around are rooted in general aversions to both censorship and the re-writing of history. But removing obviously racist content from streaming channels doesn’t erase it from our culture any more than taking down statues of slave traders wipes them from the history books. We all know these things existed, and we all know they represent a different time. So why should we still have to look at them uncritically?\u003c/p>\n\u003cp>After HBO Max’s decision to temporarily remove \u003cem>Gone With the Wind\u003c/em>, movie producer Stephanie Allain (\u003cem>Boyz n the Hood\u003c/em>, \u003cem>Hustle & Flow,\u003c/em> \u003cem>Dear White People\u003c/em>) \u003ca href=\"https://www.youtube.com/watch?v=kP7KvyJTZ3w\" target=\"_blank\" rel=\"noopener noreferrer\">told CNN\u003c/a>: “It’s part of our film history, it’s part of American history. I don’t think it can be tucked away and forgotten. I think we have to look at it. But I think it has to be looked at within the context of racism, slavery, the war and where we are today.”\u003c/p>\n\u003cp>Allain is right. An outright ban is not the answer. (Because outright bans are almost never the answer.) And yes, we should study history to better understand the present. But these cinematic artifacts belong in classrooms and libraries, not on 2020’s most popular streaming channels. There is still a mountain of material on these platforms that does people of color a disservice, whether through a general lack of accurate representation, no representation at all or via tales that center on white saviors. (To wit, \u003cem>The Help\u003c/em> has been trending on Netflix all week.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In discussing \u003cem>Gone With the Wind\u003c/em> this week, BBC media editor \u003ca href=\"https://www.bbc.com/news/entertainment-arts-52990714\" target=\"_blank\" rel=\"noopener noreferrer\">Amol Rajan noted\u003c/a>: “The issue at stake here isn’t about one film. It’s about a much broader issue of whether we judge history by modern standards, even while recognizing that what we consider to be modern standards are fluid, contested and will some day themselves be consigned to history. This might be the beginning of a new front in our culture wars, powered by digital media.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s a very optimistic suggestion given the current half-hearted approach. If we can’t get these representations off our televisions at a time where channels are scrambling to reflect the moment (\u003ca href=\"https://www.npr.org/sections/live-updates-protests-for-racial-justice/2020/06/10/873624536/cops-show-canceled-amid-worldwide-protests-against-police-violence\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cops\u003c/em> is canceled\u003c/a>; \u003ca href=\"https://deadline.com/2020/06/netflix-creates-collection-of-film-tv-content-highlighting-the-black-experience-1202955269/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix has launched\u003c/a> a collection of “complex narratives about the Black experience”), when can we? When streaming platforms refuse to take decisive action, they don’t just leave us staring at a legacy we should have moved on from, they stall cultural strides forward.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Shirley’ Role-Plays Women as Rivals, Victims, Sisters",
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"content": "\u003cp>Shirley Jackson’s chilling “The Lottery” is one of the most anthologized short stories in the American canon. Josephine Decker’s tantalizing and piercing film, \u003cem>Shirley\u003c/em>, begins in the immediate wake of the story’s 1948 publication in \u003cem>The New Yorker\u003c/em>, with Jackson in a fugue of depression.\u003c/p>\n\u003cp>To its great credit and our greater reward, \u003cem>Shirley\u003c/em> (now available via VOD) has a whole lot more on its mind than yet another overwrought depiction of the torment of the creative process. In fact, the title is something of a red herring, because the primary protagonist—whose journey is the most wrenching, profound and emblematic of the myriad constraints on women (then and now)—isn’t Jackson but Rose Nemser, the young wife of a teaching assistant.\u003c/p>\n\u003cp>Indeed, Rose is the first character we meet, on a train to Bennington College with her ambitious husband Fred. He’s the new hire of Stanley Hyman, a seductive literary critic-cum-professor at the Vermont liberal arts school and Shirley’s husband. Rose (Odessa Young) and Fred (Logan Lerman) are eager and hot, perhaps more in lust than in love, a stark contrast to the cerebral, cryptic dynamic they encounter in their older, accomplished hosts.\u003c/p>\n\u003cfigure id=\"attachment_13881598\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Stuhlbarg and Elisabeth Moss in ‘Shirley.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> skillfully keeps us off balance along with Rose, who is half-pressured, half-charmed into the roles of housekeeper, cook and Shirley’s sitter as the writer does battle with a novel. Shirley (Elisabeth Moss) is maniacally clever (she divines instantly that Rose is pregnant) and unhesitatingly brutal (she surprises Fred with that news over dinner), and we perceive her initially as a force of evil who channels her writing frustration into exultant torment of the neophytes living under her roof.\u003c/p>\n\u003cp>It would be glib to compare Rose’s pregnancy with Shirley’s struggle to birth a novel. Certainly we are encouraged, at least for a while, to see Rose as an icon of innocence (even a tabula rasa, perhaps) and Shirley as an agent of darkness. Happily, the idea that women sabotage each other isn’t the moral of the story, but the starting point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In short, \u003cem>Shirley\u003c/em> is one of those wonderfully surprising movies that widens and deepens with every scene. It is a veritable fever-swamp of plots and subplots. I don’t mean narrative threads but rather the machinations and motivations of three strong, smart characters (Rose, Shirley and Stanley, played with verve and brio by Michael Stuhlbarg at his most manipulative, enabling, lecherous, possessive and protective) who realize they’re at risk of losing their autonomy.\u003c/p>\n\u003cp>To put it another way, if you are teaching a master class in passive-aggressiveness and need a tutorial for the syllabus, \u003cem>Shirley\u003c/em> will do nicely. Up to a point, thankfully.\u003c/p>\n\u003cfigure id=\"attachment_13881595\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-1020x552.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Logan Lerman and Odessa Young in ‘Shirley.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sturla Brandth-Grovlen’s floating camerawork keeps us in a state of disorientation and potential peril, while Tamar-kali’s spare, cliché-free score makes every string note count. As Rose’s relationship to Shirley evolves, by turns, to assistant, accomplice, collaborator and more—and the novel takes shape as a haunting litany of female alienation inspired by the recent disappearance of a female undergrad—the film subtly shifts from Northern Gothic (with a fleeting whiff of \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>?) to postfeminist affirmation.[aside postID='arts_13881242,arts_13880615,arts_13880005' label='How to watch, what to watch']\u003c/p>\n\u003cp>Decker’s masterful orchestration of every tonal shift draws us ever deeper into Rose’s various early-1950s awakenings, while implicating us in the chauvinistic rules and assumptions that were and still are (albeit to a lesser degree) ingrained in our society—even in an ostensible haven of intellectual exploration and liberal philosophy like an exclusive private college.\u003c/p>\n\u003cp>Decker is abetted by the exemplary adaptation of Susan Scarf Merrell’s novel by Sarah Gubbins (\u003ci>I Love Dick\u003c/i>, \u003ci>Better Things\u003c/i>), which evokes rather than declaims, and allows every ambiguity and mystery to hover, percolate and unsettle.\u003c/p>\n\u003cp>Elisabeth Moss gives a typically egoless performance as the caustic, arrogant and insecure Shirley Jackson. Moss never chews the scenery—although she can slay everyone in a five-mile radius with a line reading—and conveys a remarkable breadth (from dominating to conspiratorial, from erotic to ruthless) in her interplay with Odessa Young.\u003c/p>\n\u003cp>Young, as Rose, is the beating, breathless heart of the film. At the same time, the Australian actress recognizes that she’s in a chamber drama that requires the voices to overlap and mesh. When her solo comes, she is clear and loud.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shirley’ is rated R for sexual content, nudity, language and brief disturbing images. Spoiler alert: The novel that Jackson is laboring on is ‘Hangsaman’ (published in 1951).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shirley Jackson’s chilling “The Lottery” is one of the most anthologized short stories in the American canon. Josephine Decker’s tantalizing and piercing film, \u003cem>Shirley\u003c/em>, begins in the immediate wake of the story’s 1948 publication in \u003cem>The New Yorker\u003c/em>, with Jackson in a fugue of depression.\u003c/p>\n\u003cp>To its great credit and our greater reward, \u003cem>Shirley\u003c/em> (now available via VOD) has a whole lot more on its mind than yet another overwrought depiction of the torment of the creative process. In fact, the title is something of a red herring, because the primary protagonist—whose journey is the most wrenching, profound and emblematic of the myriad constraints on women (then and now)—isn’t Jackson but Rose Nemser, the young wife of a teaching assistant.\u003c/p>\n\u003cp>Indeed, Rose is the first character we meet, on a train to Bennington College with her ambitious husband Fred. He’s the new hire of Stanley Hyman, a seductive literary critic-cum-professor at the Vermont liberal arts school and Shirley’s husband. Rose (Odessa Young) and Fred (Logan Lerman) are eager and hot, perhaps more in lust than in love, a stark contrast to the cerebral, cryptic dynamic they encounter in their older, accomplished hosts.\u003c/p>\n\u003cfigure id=\"attachment_13881598\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881598\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SHIRLEY-Michael-Stuhlbarg-Elisabeth-Moss_CourtesyNEON_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Michael Stuhlbarg and Elisabeth Moss in ‘Shirley.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shirley\u003c/em> skillfully keeps us off balance along with Rose, who is half-pressured, half-charmed into the roles of housekeeper, cook and Shirley’s sitter as the writer does battle with a novel. Shirley (Elisabeth Moss) is maniacally clever (she divines instantly that Rose is pregnant) and unhesitatingly brutal (she surprises Fred with that news over dinner), and we perceive her initially as a force of evil who channels her writing frustration into exultant torment of the neophytes living under her roof.\u003c/p>\n\u003cp>It would be glib to compare Rose’s pregnancy with Shirley’s struggle to birth a novel. Certainly we are encouraged, at least for a while, to see Rose as an icon of innocence (even a tabula rasa, perhaps) and Shirley as an agent of darkness. Happily, the idea that women sabotage each other isn’t the moral of the story, but the starting point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In short, \u003cem>Shirley\u003c/em> is one of those wonderfully surprising movies that widens and deepens with every scene. It is a veritable fever-swamp of plots and subplots. I don’t mean narrative threads but rather the machinations and motivations of three strong, smart characters (Rose, Shirley and Stanley, played with verve and brio by Michael Stuhlbarg at his most manipulative, enabling, lecherous, possessive and protective) who realize they’re at risk of losing their autonomy.\u003c/p>\n\u003cp>To put it another way, if you are teaching a master class in passive-aggressiveness and need a tutorial for the syllabus, \u003cem>Shirley\u003c/em> will do nicely. Up to a point, thankfully.\u003c/p>\n\u003cfigure id=\"attachment_13881595\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881595\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200.jpg\" alt=\"\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Shirley_LoganLermanOdessaYoung_courtesy-NEON_1200-1020x552.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Logan Lerman and Odessa Young in ‘Shirley.’ \u003ccite>(Courtesy NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sturla Brandth-Grovlen’s floating camerawork keeps us in a state of disorientation and potential peril, while Tamar-kali’s spare, cliché-free score makes every string note count. As Rose’s relationship to Shirley evolves, by turns, to assistant, accomplice, collaborator and more—and the novel takes shape as a haunting litany of female alienation inspired by the recent disappearance of a female undergrad—the film subtly shifts from Northern Gothic (with a fleeting whiff of \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>?) to postfeminist affirmation.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Decker’s masterful orchestration of every tonal shift draws us ever deeper into Rose’s various early-1950s awakenings, while implicating us in the chauvinistic rules and assumptions that were and still are (albeit to a lesser degree) ingrained in our society—even in an ostensible haven of intellectual exploration and liberal philosophy like an exclusive private college.\u003c/p>\n\u003cp>Decker is abetted by the exemplary adaptation of Susan Scarf Merrell’s novel by Sarah Gubbins (\u003ci>I Love Dick\u003c/i>, \u003ci>Better Things\u003c/i>), which evokes rather than declaims, and allows every ambiguity and mystery to hover, percolate and unsettle.\u003c/p>\n\u003cp>Elisabeth Moss gives a typically egoless performance as the caustic, arrogant and insecure Shirley Jackson. Moss never chews the scenery—although she can slay everyone in a five-mile radius with a line reading—and conveys a remarkable breadth (from dominating to conspiratorial, from erotic to ruthless) in her interplay with Odessa Young.\u003c/p>\n\u003cp>Young, as Rose, is the beating, breathless heart of the film. At the same time, the Australian actress recognizes that she’s in a chamber drama that requires the voices to overlap and mesh. When her solo comes, she is clear and loud.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shirley’ is rated R for sexual content, nudity, language and brief disturbing images. Spoiler alert: The novel that Jackson is laboring on is ‘Hangsaman’ (published in 1951).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This List of Books, Films and Podcasts About Racism is a Start, Not a Panacea",
"headTitle": "This List of Books, Films and Podcasts About Racism is a Start, Not a Panacea | KQED",
"content": "\u003cp>As of Friday, 15 of the top 20 bestselling books on Amazon were about race or racism. Earlier this week, \u003cem>Code Switch\u003c/em> was number one on Apple Podcasts—which, \u003ca href=\"https://twitter.com/GeeDee215/status/1268000245214035974\" target=\"_blank\" rel=\"noopener noreferrer\">as host Gene Demby said\u003c/a>, is “dope,” but unfortunately occurred under “soul-crushing circumstances.” And \u003cem>The Help \u003c/em>is trending on Netflix (ahem, a film that \u003ca href=\"https://www.npr.org/2011/08/18/139755308/the-help-draws-audiences-and-ire\" target=\"_blank\" rel=\"noopener noreferrer\">drew immediate ire\u003c/a> upon release).\u003c/p>\n\u003cp>We’re in the middle of one of those awfully predictable news cycles—a video of police killing a black person goes viral, protests ensue and broader America suddenly realizes \u003cem>we need to talk about race. \u003c/em>Of course, while \u003ca href=\"https://slate.com/news-and-politics/2020/05/this-week-has-happened-before.html\" target=\"_blank\" rel=\"noopener noreferrer\">this week has happened before,\u003c/a> it’s also happening on a much larger scale than ever before, with \u003ca href=\"https://www.usatoday.com/in-depth/graphics/2020/06/03/map-protests-wake-george-floyds-death/5310149002/\" target=\"_blank\" rel=\"noopener noreferrer\">demonstrations in all 50 states.\u003c/a>\u003c/p>\n\u003cp>To help people be better allies, lists of antiracist books, films and podcasts are being published in droves. There’s never a bad time to learn, but such a list can become erroneously prescriptive, a balm to centuries-old lacerations that cut deeper than the individual reader. \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">As Lauren Michele Jackson wrote for \u003cem>Vulture,\u003c/em> \u003c/a>“The word [anti-racism] and its nominal equivalent, “anti-racist,” suggests something of a vanity project, where the goal is no longer to learn more about race, power, and capital, but to spring closer to the enlightened order of the antiracist.”\u003c/p>\n\u003cp>So, with that in mind, we’ve compiled a list of books, films and podcasts about systemic racism, acknowledging that they are just books, films and podcasts. You’ll find research on how racism permeates everything from the criminal justice system to health care. We hope you spend some time with these resources (and that you listen to \u003cem>Code Switch—\u003c/em>\u003ca href=\"https://www.npr.org/sections/codeswitch/2020/03/26/820991385/the-very-best-of-code-switch-in-8-episodes\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a list of episodes\u003c/a> to get you started). Information is power—you decide what you do with it.\u003c/p>\n\u003ch3>\u003cstrong>Books\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.mprnews.org/story/2017/10/10/why-are-all-the-black-kids-sitting-together-in-the-cafeteria\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race\u003c/em>\u003c/strong>\u003c/a> by Beverly Daniel Tatum\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This classic text on the psychology of racism was re-released with new content in 2017, 20 years after its original publication. By providing straight talk on self-segregation and inequality in schools, Tatum shows the importance—and possibility—of cross-racial dialogues starting young.\u003c/p>\n\u003cp>\u003ca href=\"https://uncpress.org/book/9781469653662/race-for-profit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership\u003c/em>\u003c/strong>\u003c/a> by Keeanga-Yamahtta Taylor\u003c/p>\n\u003cp>A finalist for the 2020 Pulitzer Prize in History, \u003cem>Race for Profit \u003c/em>chronicles how the Housing and Urban Development Act of 1968 failed to stop racist, exploitative mortgage lending practices. Since the policy was supposed to be a balm to the 1960s uprisings—much like the ones we’re seeing now—it serves as a reminder to remain vigilant when policymakers promise change.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2019/07/27/745925045/book-a-terrible-thing-to-waste\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Terrible Thing to Waste: Environmental Racism and its Assault on the American Mind\u003c/em>\u003c/strong>\u003c/a> by Harriet A. Washington\u003c/p>\n\u003cp>From lead poisoning to toxic waste, Americans of color are disproportionately harmed by environmental hazards. This is detrimental to physical health—air pollution is linked with higher COVID-19 death rates, \u003ca href=\"https://www.hsph.harvard.edu/news/hsph-in-the-news/air-pollution-linked-with-higher-covid-19-death-rates/\" target=\"_blank\" rel=\"noopener noreferrer\">according to Harvard researchers.\u003c/a> But Washington also argues that environmental racism is causing cognitive decline in communities of color. A deconstruction of IQ and an indictment of EPA rollbacks, \u003cem>A Terrible Thing To Waste\u003c/em> is a stirring read.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674979826\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>From the War on Poverty to the War on Crime: The Making of Mass Incarceration in America\u003c/em>\u003c/strong>\u003c/a> by Elizabeth Hinton\u003c/p>\n\u003cp>The origins of mass incarceration—which disproportionately puts black people behind bars—are often pinned on Ronald Reagan and Richard Nixon. But Hinton argues the carceral state was erected “by a consensus of liberals and conservatives who privileged punitive responses to urban problems as a reaction to the civil rights movement.” The 1965 Law Enforcement Assistance Act, part of Lyndon Johnson’s Great Society plan, led to today’s police militarization. This account of history poses relevant questions for today’s land of the free.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/586392678/automating-inequality-how-high-tech-tools-profile-police-and-punish-the-poor\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Automating Inequality: How High-Tech Tools Profile, Police and Punish the Poor\u003c/em>\u003c/strong>\u003c/a> by Virginia Eubanks\u003c/p>\n\u003cp>Algorithms are made by humans, so they are susceptible to human biases. From deciding which neighborhoods get policed to who gets welfare benefits, discrimination has gone digital. By scrutinizing statistical models and telling personal stories, Eubanks shows that machines do not correct racist systems—they only shift blame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/868390203/the-end-of-policing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The End of Policing\u003c/em>\u003c/strong>\u003c/a> by Alex S. Vitale\u003c/p>\n\u003cp>In the wake of high-profile cases of police brutality, the same ideas for reform are trotted out—implicit bias training, body cameras, police-community dialogues. But Vitale argues that this fails to get to the root of the problem—policing itself. While calls to abolish the police are often met with skepticism, academics and activists have long-discussed alternatives to addressing homelessness, domestic disputes and substance abuse. \u003ca href=\"https://www.versobooks.com/books/2817\" target=\"_blank\" rel=\"noopener noreferrer\">A free ebook\u003c/a> of \u003cem>The End of Policing\u003c/em> is available now. (And you can read \u003cem>Code Switch\u003c/em> editor extraordinaire Leah Donnella’s conversation with Vitale \u003ca href=\"https://www.npr.org/sections/codeswitch/2020/06/03/457251670/how-much-do-we-need-the-police\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>)\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyrb.com/products/blackballed?variant=1094927969\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Blackballed: The Black Vote and U.S. Democracy\u003c/em>\u003c/strong>\u003c/a> by Darryl Pinckney\u003c/p>\n\u003cp>As young Americans take to the streets to say black lives matter, they’re often told to vote. While voting is important, it’s also important to remember how black political representation has been chipped away by voter ID laws, gerrymandering and felon disenfranchisement. \u003cem>Blackballed \u003c/em>addresses the struggle for voting rights and for racial equality more broadly, drawing on Pinckney’s own experiences and writings of civil rights leaders to create a complicated picture of black political identity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/358318685/dog-whistle-politics-how-coded-racial-appeals-have-reinvented-racism-and-wrecked\">\u003cstrong>\u003cem>Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class\u003c/em>\u003c/strong>\u003c/a> by Ian Haney López\u003c/p>\n\u003cp>“Entitlement mentality.” “Quotas.” “Welfare queens.” From Barry Goldwater to Bill Clinton to the Tea Party, politicians have relied on racially coded language to win over white voters and decimate social programs. \u003cem>Dog Whistle Politics \u003c/em>makes the case that not only does this strategy endanger people of color, but it also hinders economic mobility for all Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://ugapress.org/book/9780820354750/medical-bondage/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Medical Bondage: Race, Gender, and the Origins of American Gynecology\u003c/em>\u003c/strong>\u003c/a> by Deirdre Cooper Owens\u003c/p>\n\u003cp>The foundational knowledge of American gynecology relied on the exploitation of enslaved black women’s bodies. In \u003cem>Medical Bondage,\u003c/em> Cooper Owens centers the stories of black women that have been overshadowed by the “discoveries” of white male doctors who experimented on them. Baseless theories about black inferiority and higher pain tolerance \u003ca href=\"https://www.pnas.org/content/113/16/4296\" target=\"_blank\" rel=\"noopener noreferrer\">still permeate medical schools today\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://manifold.umn.edu/projects/body-and-soul\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Body and Soul: The Black Panther Party and the Fight against Medical Discrimination\u003c/em>\u003c/strong>\u003c/a> by Alondra Nelson\u003c/p>\n\u003cp>The Black Panther Party is most remembered for its militant action, but health care was also a major pillar of its activism. The People’s Free Medical Clinics tested for hypertension and assisted with housing and employment. Its outreach also brought attention to rampant discrimination within mainstream medicine. Nelson writes that the Black Panther Party understood health as a human right, echoing today’s fight for universal health care. You can \u003ca href=\"https://manifold.umn.edu/read/body-and-soul/section/afa172a4-8eaa-4413-a403-ec76794217e6\" target=\"_blank\" rel=\"noopener noreferrer\">read \u003cem>Body and Soul\u003c/em> online for free.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Films\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>13th\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The U.S. imprisons more people than any other country in the world, and \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/04/30/shrinking-gap-between-number-of-blacks-and-whites-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">a third of U.S. prisoners are black.\u003c/a> In this infuriating documentary, director Ava DuVernay argues that mass incarceration, Jim Crow and slavery are “the three major racialized systems of control adopted in the United States to date.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>I Am Not Your Negro\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Narrated by the words of James Baldwin with the voice of Samuel L. Jackson, \u003cem>I Am Not Your Negro\u003c/em> connects the Civil Rights Movement to Black Lives Matter. Although Baldwin died nearly 30 years before the film’s release, his observations about racial conflict are as incisive today as they were when he made them.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hulu.com/movie/whose-streets-3e8f4b7a-75d4-4484-9843-e665b60e2758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Whose Streets?\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The 2014 killing of 18-year-old Michael Brown by police in Ferguson, Mo. was one of the deaths that sparked the Black Lives Matter movement. Frustrated by media coverage of unrest in Ferguson, co-directors Sabaah Folayan and Damon Davis documented how locals felt about police in riot gear filling their neighborhoods with tear gas. As one resident says, “They don’t tell you the fact that the police showed up to a peaceful candlelight vigil… and boxed them in, and forced them onto a QuikTrip lot.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80184131\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>LA 92\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>LA 92 \u003c/em>is about the Los Angeles riots that occurred in response to the police beating of Rodney King. The film is entirely comprised of archival footage—no talking heads needed. It’s chilling to watch the unrest of nearly 30 years ago, as young people still take to the streets and shout, “No justice, no peace.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80198423\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Teach Us All\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Over 60 years after Brown v. Board of Education, American schools are still segregated. \u003cem>Teach Us All \u003c/em>explains why that is—school choice, residential segregation, biased admissions processes—and talks to advocates working for change. Interspersing interviews from two Little Rock Nine members, the documentary asks how far we’ve really come.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/show/black-america-mlk-and-still-i-rise/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Black America Since MLK: And Still I Rise\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>In this two-part series, Henry Louis Gates, Jr. chronicles the last 50 years of black history through a personal lens. Released days after the 2016 election, some themes of the documentary took on a deeper meaning amid Donald Trump’s win. “Think of the civil rights movement to the present as a second Reconstruction—a 50-year Reconstruction—that ended last night,” Gates said \u003ca href=\"https://www.salon.com/test2/2016/11/12/henry-louis-gates-on-trump-that-election-clearly-represented-a-backlash-against-the-progress-black-people-have-made-since-1965/\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with\u003cem> Salon.\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Podcasts\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/podcasts/floodlines/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Floodlines\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The Atlantic\u003c/em>\u003c/p>\n\u003cp>An audio documentary about the aftermath of Hurricane Katrina, \u003cem>Floodlines \u003c/em>is told from the perspective of four New Orleanians still living with the consequences of governmental neglect. As COVID-19 disproportionately infects and kills Americans of color, the story feels especially relevant. “As a person of color, you always have it in the back of your mind that the government really doesn’t care about you,” said self-described Katrina overcomer Alice Craft-Kerney.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2020/01/23/podcasts/1619-podcast.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>1619\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The New York Times \u003c/em>\u003c/p>\n\u003cp>“In August of 1619, a ship carrying more than 20 enslaved Africans arrived in the English colony of Virginia. America was not yet America, but this was the moment it began.” Hosted by recent Pulitzer Prize winner Nikole Hannah-Jones, the\u003cem> 1619 \u003c/em>audio series chronicles how black people have been central to building American democracy, music, wealth and more.\u003c/p>\n\u003cp>\u003ca href=\"https://aapf.org/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Intersectionality Matters! \u003c/em>\u003c/strong>\u003c/a>from \u003cem>The African American Policy Forum\u003c/em>\u003c/p>\n\u003cp>Hosted by Kimberlé Crenshaw, a leading critical race theorist who coined the term “intersectionality,” this podcast brings the academic term to life. Each episode brings together lively political organizers, journalists and writers. \u003ca href=\"https://soundcloud.com/intersectionality-matters/15-pt-6-under-the-blacklight-covid-in-confinement\" target=\"_blank\" rel=\"noopener noreferrer\">This recent episode\u003c/a> on COVID-19 in prisons and other areas of confinement is a must-listen.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510333/throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Throughline \u003c/em>\u003c/strong>\u003c/a>from\u003cem> NPR\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Every week at \u003cem>Throughline, \u003c/em>our pals Rund Abdelfatah and Ramtin Arablouei “go back in time to understand the present.” To understand the history of systemic racism in America, we recommend “\u003ca href=\"https://www.npr.org/2020/06/03/869046127/american-police\" target=\"_blank\" rel=\"noopener noreferrer\">American Police\u003c/a>,” “\u003ca href=\"https://www.npr.org/2019/08/14/751126384/mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Mass Incarceration\u003c/a>” and “\u003ca href=\"https://www.npr.org/2019/07/24/744884767/milliken-v-bradley\" target=\"_blank\" rel=\"noopener noreferrer\">Milliken v. Bradley\u003c/a>.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+List+Of+Books%2C+Films+And+Podcasts+About+Racism+Is+A+Start%2C+Not+A+Panacea&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As of Friday, 15 of the top 20 bestselling books on Amazon were about race or racism. Earlier this week, \u003cem>Code Switch\u003c/em> was number one on Apple Podcasts—which, \u003ca href=\"https://twitter.com/GeeDee215/status/1268000245214035974\" target=\"_blank\" rel=\"noopener noreferrer\">as host Gene Demby said\u003c/a>, is “dope,” but unfortunately occurred under “soul-crushing circumstances.” And \u003cem>The Help \u003c/em>is trending on Netflix (ahem, a film that \u003ca href=\"https://www.npr.org/2011/08/18/139755308/the-help-draws-audiences-and-ire\" target=\"_blank\" rel=\"noopener noreferrer\">drew immediate ire\u003c/a> upon release).\u003c/p>\n\u003cp>We’re in the middle of one of those awfully predictable news cycles—a video of police killing a black person goes viral, protests ensue and broader America suddenly realizes \u003cem>we need to talk about race. \u003c/em>Of course, while \u003ca href=\"https://slate.com/news-and-politics/2020/05/this-week-has-happened-before.html\" target=\"_blank\" rel=\"noopener noreferrer\">this week has happened before,\u003c/a> it’s also happening on a much larger scale than ever before, with \u003ca href=\"https://www.usatoday.com/in-depth/graphics/2020/06/03/map-protests-wake-george-floyds-death/5310149002/\" target=\"_blank\" rel=\"noopener noreferrer\">demonstrations in all 50 states.\u003c/a>\u003c/p>\n\u003cp>To help people be better allies, lists of antiracist books, films and podcasts are being published in droves. There’s never a bad time to learn, but such a list can become erroneously prescriptive, a balm to centuries-old lacerations that cut deeper than the individual reader. \u003ca href=\"https://www.vulture.com/2020/06/anti-racist-reading-lists-what-are-they-for.html\" target=\"_blank\" rel=\"noopener noreferrer\">As Lauren Michele Jackson wrote for \u003cem>Vulture,\u003c/em> \u003c/a>“The word [anti-racism] and its nominal equivalent, “anti-racist,” suggests something of a vanity project, where the goal is no longer to learn more about race, power, and capital, but to spring closer to the enlightened order of the antiracist.”\u003c/p>\n\u003cp>So, with that in mind, we’ve compiled a list of books, films and podcasts about systemic racism, acknowledging that they are just books, films and podcasts. You’ll find research on how racism permeates everything from the criminal justice system to health care. We hope you spend some time with these resources (and that you listen to \u003cem>Code Switch—\u003c/em>\u003ca href=\"https://www.npr.org/sections/codeswitch/2020/03/26/820991385/the-very-best-of-code-switch-in-8-episodes\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a list of episodes\u003c/a> to get you started). Information is power—you decide what you do with it.\u003c/p>\n\u003ch3>\u003cstrong>Books\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.mprnews.org/story/2017/10/10/why-are-all-the-black-kids-sitting-together-in-the-cafeteria\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Why Are All the Black Kids Sitting Together in the Cafeteria? And Other Conversations About Race\u003c/em>\u003c/strong>\u003c/a> by Beverly Daniel Tatum\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This classic text on the psychology of racism was re-released with new content in 2017, 20 years after its original publication. By providing straight talk on self-segregation and inequality in schools, Tatum shows the importance—and possibility—of cross-racial dialogues starting young.\u003c/p>\n\u003cp>\u003ca href=\"https://uncpress.org/book/9781469653662/race-for-profit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Race for Profit: How Banks and the Real Estate Industry Undermined Black Homeownership\u003c/em>\u003c/strong>\u003c/a> by Keeanga-Yamahtta Taylor\u003c/p>\n\u003cp>A finalist for the 2020 Pulitzer Prize in History, \u003cem>Race for Profit \u003c/em>chronicles how the Housing and Urban Development Act of 1968 failed to stop racist, exploitative mortgage lending practices. Since the policy was supposed to be a balm to the 1960s uprisings—much like the ones we’re seeing now—it serves as a reminder to remain vigilant when policymakers promise change.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2019/07/27/745925045/book-a-terrible-thing-to-waste\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>A Terrible Thing to Waste: Environmental Racism and its Assault on the American Mind\u003c/em>\u003c/strong>\u003c/a> by Harriet A. Washington\u003c/p>\n\u003cp>From lead poisoning to toxic waste, Americans of color are disproportionately harmed by environmental hazards. This is detrimental to physical health—air pollution is linked with higher COVID-19 death rates, \u003ca href=\"https://www.hsph.harvard.edu/news/hsph-in-the-news/air-pollution-linked-with-higher-covid-19-death-rates/\" target=\"_blank\" rel=\"noopener noreferrer\">according to Harvard researchers.\u003c/a> But Washington also argues that environmental racism is causing cognitive decline in communities of color. A deconstruction of IQ and an indictment of EPA rollbacks, \u003cem>A Terrible Thing To Waste\u003c/em> is a stirring read.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hup.harvard.edu/catalog.php?isbn=9780674979826\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>From the War on Poverty to the War on Crime: The Making of Mass Incarceration in America\u003c/em>\u003c/strong>\u003c/a> by Elizabeth Hinton\u003c/p>\n\u003cp>The origins of mass incarceration—which disproportionately puts black people behind bars—are often pinned on Ronald Reagan and Richard Nixon. But Hinton argues the carceral state was erected “by a consensus of liberals and conservatives who privileged punitive responses to urban problems as a reaction to the civil rights movement.” The 1965 Law Enforcement Assistance Act, part of Lyndon Johnson’s Great Society plan, led to today’s police militarization. This account of history poses relevant questions for today’s land of the free.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/586392678/automating-inequality-how-high-tech-tools-profile-police-and-punish-the-poor\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Automating Inequality: How High-Tech Tools Profile, Police and Punish the Poor\u003c/em>\u003c/strong>\u003c/a> by Virginia Eubanks\u003c/p>\n\u003cp>Algorithms are made by humans, so they are susceptible to human biases. From deciding which neighborhoods get policed to who gets welfare benefits, discrimination has gone digital. By scrutinizing statistical models and telling personal stories, Eubanks shows that machines do not correct racist systems—they only shift blame.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/868390203/the-end-of-policing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>The End of Policing\u003c/em>\u003c/strong>\u003c/a> by Alex S. Vitale\u003c/p>\n\u003cp>In the wake of high-profile cases of police brutality, the same ideas for reform are trotted out—implicit bias training, body cameras, police-community dialogues. But Vitale argues that this fails to get to the root of the problem—policing itself. While calls to abolish the police are often met with skepticism, academics and activists have long-discussed alternatives to addressing homelessness, domestic disputes and substance abuse. \u003ca href=\"https://www.versobooks.com/books/2817\" target=\"_blank\" rel=\"noopener noreferrer\">A free ebook\u003c/a> of \u003cem>The End of Policing\u003c/em> is available now. (And you can read \u003cem>Code Switch\u003c/em> editor extraordinaire Leah Donnella’s conversation with Vitale \u003ca href=\"https://www.npr.org/sections/codeswitch/2020/06/03/457251670/how-much-do-we-need-the-police\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>)\u003c/p>\n\u003cp>\u003ca href=\"https://www.nyrb.com/products/blackballed?variant=1094927969\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Blackballed: The Black Vote and U.S. Democracy\u003c/em>\u003c/strong>\u003c/a> by Darryl Pinckney\u003c/p>\n\u003cp>As young Americans take to the streets to say black lives matter, they’re often told to vote. While voting is important, it’s also important to remember how black political representation has been chipped away by voter ID laws, gerrymandering and felon disenfranchisement. \u003cem>Blackballed \u003c/em>addresses the struggle for voting rights and for racial equality more broadly, drawing on Pinckney’s own experiences and writings of civil rights leaders to create a complicated picture of black political identity.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/books/titles/358318685/dog-whistle-politics-how-coded-racial-appeals-have-reinvented-racism-and-wrecked\">\u003cstrong>\u003cem>Dog Whistle Politics: How Coded Racial Appeals Have Reinvented Racism and Wrecked the Middle Class\u003c/em>\u003c/strong>\u003c/a> by Ian Haney López\u003c/p>\n\u003cp>“Entitlement mentality.” “Quotas.” “Welfare queens.” From Barry Goldwater to Bill Clinton to the Tea Party, politicians have relied on racially coded language to win over white voters and decimate social programs. \u003cem>Dog Whistle Politics \u003c/em>makes the case that not only does this strategy endanger people of color, but it also hinders economic mobility for all Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://ugapress.org/book/9780820354750/medical-bondage/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Medical Bondage: Race, Gender, and the Origins of American Gynecology\u003c/em>\u003c/strong>\u003c/a> by Deirdre Cooper Owens\u003c/p>\n\u003cp>The foundational knowledge of American gynecology relied on the exploitation of enslaved black women’s bodies. In \u003cem>Medical Bondage,\u003c/em> Cooper Owens centers the stories of black women that have been overshadowed by the “discoveries” of white male doctors who experimented on them. Baseless theories about black inferiority and higher pain tolerance \u003ca href=\"https://www.pnas.org/content/113/16/4296\" target=\"_blank\" rel=\"noopener noreferrer\">still permeate medical schools today\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://manifold.umn.edu/projects/body-and-soul\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Body and Soul: The Black Panther Party and the Fight against Medical Discrimination\u003c/em>\u003c/strong>\u003c/a> by Alondra Nelson\u003c/p>\n\u003cp>The Black Panther Party is most remembered for its militant action, but health care was also a major pillar of its activism. The People’s Free Medical Clinics tested for hypertension and assisted with housing and employment. Its outreach also brought attention to rampant discrimination within mainstream medicine. Nelson writes that the Black Panther Party understood health as a human right, echoing today’s fight for universal health care. You can \u003ca href=\"https://manifold.umn.edu/read/body-and-soul/section/afa172a4-8eaa-4413-a403-ec76794217e6\" target=\"_blank\" rel=\"noopener noreferrer\">read \u003cem>Body and Soul\u003c/em> online for free.\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Films\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>13th\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The U.S. imprisons more people than any other country in the world, and \u003ca href=\"https://www.pewresearch.org/fact-tank/2019/04/30/shrinking-gap-between-number-of-blacks-and-whites-in-prison/\" target=\"_blank\" rel=\"noopener noreferrer\">a third of U.S. prisoners are black.\u003c/a> In this infuriating documentary, director Ava DuVernay argues that mass incarceration, Jim Crow and slavery are “the three major racialized systems of control adopted in the United States to date.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/I-Am-Not-Your-Negro/dp/B01MR52U7T\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>I Am Not Your Negro\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Narrated by the words of James Baldwin with the voice of Samuel L. Jackson, \u003cem>I Am Not Your Negro\u003c/em> connects the Civil Rights Movement to Black Lives Matter. Although Baldwin died nearly 30 years before the film’s release, his observations about racial conflict are as incisive today as they were when he made them.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hulu.com/movie/whose-streets-3e8f4b7a-75d4-4484-9843-e665b60e2758\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Whose Streets?\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The 2014 killing of 18-year-old Michael Brown by police in Ferguson, Mo. was one of the deaths that sparked the Black Lives Matter movement. Frustrated by media coverage of unrest in Ferguson, co-directors Sabaah Folayan and Damon Davis documented how locals felt about police in riot gear filling their neighborhoods with tear gas. As one resident says, “They don’t tell you the fact that the police showed up to a peaceful candlelight vigil… and boxed them in, and forced them onto a QuikTrip lot.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80184131\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>LA 92\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003cem>LA 92 \u003c/em>is about the Los Angeles riots that occurred in response to the police beating of Rodney King. The film is entirely comprised of archival footage—no talking heads needed. It’s chilling to watch the unrest of nearly 30 years ago, as young people still take to the streets and shout, “No justice, no peace.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.netflix.com/title/80198423\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Teach Us All\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Over 60 years after Brown v. Board of Education, American schools are still segregated. \u003cem>Teach Us All \u003c/em>explains why that is—school choice, residential segregation, biased admissions processes—and talks to advocates working for change. Interspersing interviews from two Little Rock Nine members, the documentary asks how far we’ve really come.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/show/black-america-mlk-and-still-i-rise/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Black America Since MLK: And Still I Rise\u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>In this two-part series, Henry Louis Gates, Jr. chronicles the last 50 years of black history through a personal lens. Released days after the 2016 election, some themes of the documentary took on a deeper meaning amid Donald Trump’s win. “Think of the civil rights movement to the present as a second Reconstruction—a 50-year Reconstruction—that ended last night,” Gates said \u003ca href=\"https://www.salon.com/test2/2016/11/12/henry-louis-gates-on-trump-that-election-clearly-represented-a-backlash-against-the-progress-black-people-have-made-since-1965/\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with\u003cem> Salon.\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003cstrong>Podcasts\u003c/strong>\u003c/h3>\n\u003cp>\u003ca href=\"https://www.theatlantic.com/podcasts/floodlines/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Floodlines\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The Atlantic\u003c/em>\u003c/p>\n\u003cp>An audio documentary about the aftermath of Hurricane Katrina, \u003cem>Floodlines \u003c/em>is told from the perspective of four New Orleanians still living with the consequences of governmental neglect. As COVID-19 disproportionately infects and kills Americans of color, the story feels especially relevant. “As a person of color, you always have it in the back of your mind that the government really doesn’t care about you,” said self-described Katrina overcomer Alice Craft-Kerney.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2020/01/23/podcasts/1619-podcast.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>1619\u003c/em>\u003c/strong>\u003c/a> from \u003cem>The New York Times \u003c/em>\u003c/p>\n\u003cp>“In August of 1619, a ship carrying more than 20 enslaved Africans arrived in the English colony of Virginia. America was not yet America, but this was the moment it began.” Hosted by recent Pulitzer Prize winner Nikole Hannah-Jones, the\u003cem> 1619 \u003c/em>audio series chronicles how black people have been central to building American democracy, music, wealth and more.\u003c/p>\n\u003cp>\u003ca href=\"https://aapf.org/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Intersectionality Matters! \u003c/em>\u003c/strong>\u003c/a>from \u003cem>The African American Policy Forum\u003c/em>\u003c/p>\n\u003cp>Hosted by Kimberlé Crenshaw, a leading critical race theorist who coined the term “intersectionality,” this podcast brings the academic term to life. Each episode brings together lively political organizers, journalists and writers. \u003ca href=\"https://soundcloud.com/intersectionality-matters/15-pt-6-under-the-blacklight-covid-in-confinement\" target=\"_blank\" rel=\"noopener noreferrer\">This recent episode\u003c/a> on COVID-19 in prisons and other areas of confinement is a must-listen.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/podcasts/510333/throughline\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>Throughline \u003c/em>\u003c/strong>\u003c/a>from\u003cem> NPR\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every week at \u003cem>Throughline, \u003c/em>our pals Rund Abdelfatah and Ramtin Arablouei “go back in time to understand the present.” To understand the history of systemic racism in America, we recommend “\u003ca href=\"https://www.npr.org/2020/06/03/869046127/american-police\" target=\"_blank\" rel=\"noopener noreferrer\">American Police\u003c/a>,” “\u003ca href=\"https://www.npr.org/2019/08/14/751126384/mass-incarceration\" target=\"_blank\" rel=\"noopener noreferrer\">Mass Incarceration\u003c/a>” and “\u003ca href=\"https://www.npr.org/2019/07/24/744884767/milliken-v-bradley\" target=\"_blank\" rel=\"noopener noreferrer\">Milliken v. Bradley\u003c/a>.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+List+Of+Books%2C+Films+And+Podcasts+About+Racism+Is+A+Start%2C+Not+A+Panacea&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The word monumental recurs throughout the new documentary \u003ca href=\"https://intoherownfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>\u003c/a>. Art critics, friends of the artist and casual observers reflexively use the adjective to describe the Stonehenge-sized scale of von Rydingsvard’s work. It’s a self-evident fact that her public sculptures meet dinosaurs at eye-level. But Daniel Traub, director of the film, suggests that people are responding to their immensity as well as something else. Speaking in a phone interview, Traub says that a work of art that fits in the palm of your hand can also be monumental. “But it has to resonate symbolically and with something that’s very human,” he says. “It transcends the moment.”\u003c/p>\n\u003cp>Von Rydingsvard, who was born in 1942, displays that sense of timelessness in massive works like \u003cem>Czara z Bąbelkami\u003c/em>, \u003cem>Scientia\u003c/em> and \u003cem>Uroda\u003c/em>. In Traub’s biographical film about the artist and her practice, he concentrates his attention on the fabrication of \u003cem>Uroda\u003c/em>, finished in 2015. The director filmed von Rydingsvard in the studio for over two years; the entire documentary took five years to complete. \u003c/p>\n\u003cp>Traub wanted to showcase both her work and her personal story. “It took a long time to find that balance,” he explains.\u003c/p>\n\u003cfigure id=\"attachment_13881481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL12.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard standing in front of ‘Dumna’ in her studio in Bushwick, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>From various angles, \u003cem>Uroda\u003c/em>—an inverted tower of copper, steel and bronze—calls to mind totemic images from ancient civilizations. The work feels familiar to our reptile brains even if we’ve never seen it before. It resembles a calcified fossil that’s been extracted from deep inside the churning, magmatic earth. If you’re going to apply meaning to a giant abstraction like \u003cem>Uroda\u003c/em>, your subjectivity should be kept open-ended and permeable. It’s not merely coded with vegetal traces, or mineral and animal ones, and ecological associations, but all of the above. \u003c/p>\n\u003cp>\u003cem>Into Her Own\u003c/em>, though, isn’t an esoteric film that’s concerned with excavating hidden meanings. Traub focuses on more practical matters, like her team of assistants, their hands-on process and the materials von Rydingsvard batters and shapes.\u003c/p>\n\u003cfigure id=\"attachment_13881483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL17.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard and assistants preparing to work on ‘Ene Due Rabe,’ San Francisco, 1990. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>The artist’s primary material was cedar, from 1975 onwards, until she started to work on \u003cem>Uroda\u003c/em>. She previously tried to incorporate other materials into her work, but cedar kept calling her back, an affinity the documentary links to personal history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Von Rydingsvard and her Polish family lived in a German refugee camp as displaced persons after World War II. In her 70s, von Rydingsvard is still able to vividly recall the rough wood that made up the camp walls. The material offered no insulation from the cold, she says, but the walls still provided her family with a sense of safety from the war-torn world outside.\u003c/p>\n\u003cfigure id=\"attachment_13881482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881482\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL03.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard working on the patina of ‘Uroda,’ a monumental copper sculpture commissioned by Princeton University, 2015. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>Traub is careful to point out that he didn’t want biography to be the only interpretive lens used to understand her work. But given her family’s background, he says, “it’s inevitable that that’s part of it.” Her father, who was physically and emotionally abusive toward his family, was a laborer who worked in wood. In her work, Von Rydingsvard transforms his methods and materials towards her own pursuits.\u003c/p>\n\u003cfigure id=\"attachment_13881484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL02.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard in her Williamsburg studio on South 5th Street, surrounded by the cedar cast of ‘katul katul,’ 2002. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a way for her to vent her anger, or exhaust her emotions,” Traub says. The work itself doesn’t embody or represent anger. Art’s simply been a support system for her. Or, as Traub puts it, “it was a means for her to heal herself of her anger.” The amount of labor von Rydingsvard and her team put into \u003cem>Uroda\u003c/em> is immense: the sculpture is made of thousands of hand-pounded plates.\u003c/p>\n\u003cp>Von Rydingsvard’s began receiving recognition for her art in 1980 with \u003cem>Saint Martin’s Dream\u003c/em>, a site-specific public work located in what is now New York City’s Battery Park. Since then, museums across the country have collected her sculptures. In the documentary, collaborator Judy Pfaff says she thought von Rydingsvard might to take things easier as she got older, and then laughs at herself for even making such an absurd assumption about her driven friend. \u003c/p>\n\u003cfigure id=\"attachment_13881480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL32.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Von Rydingsvard walking beside her work ‘Saint Martin’s Dream’ in Battery Park, New York, 1980. Courtesy of the filmmaker.\u003c/figcaption>\u003c/figure>\n\u003cp>In the final stages of bringing \u003ci>Uroda\u003c/i> to completion, its installation on the Princeton University campus requires a team of people. In Traub’s shots, the installation team is poised as if they’re about to position a steeple on top of a cathedral. If von Rydingsvard expresses faith in something, it’s in the material world of solid objects, or as she puts it, in things “that one can see and feel, as having the potential of being very consequential to us in our lives.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Ursula von Rydingsvard: Into Her Own’ is now screening virtually through June 30 at \u003ca href=\"https://bampfa.org/event/ursula-von-rydingsvard\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>, the \u003ca href=\"https://vimeo.com/ondemand/ursulaattheroxie\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie Theater\u003c/a> and the \u003ca href=\"https://rafaelfilm.cafilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rafael Film Center\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Now Playing! Cinema at Home, From Your Favorite Local Theaters | KQED",
"content": "\u003cp>In the early days of the COVID-19 shutdown, both the trade and mainstream press fretted that the spike in home streaming would accelerate the decline, if not demise, of the theater experience. Even at this premature date, it seems safe to conclude that, for better or worse, it will take more than a pandemic to knock out Hollywood blockbusters and the multiplexes that show them.\u003c/p>\n\u003cp>On the contrary, sheltering in one’s own place has reminded us of the fundamental need to congregate with strangers in public spaces. I’ll wager that well after lockdown fever has subsided and pent-up demand is fulfilled—by next summer, let’s say—people will pack movie theaters in numbers not seen since the turn of the millennium.\u003c/p>\n\u003cp>Arthouse cinemas, located in dense urban centers and catering to diverse tastes, will likewise thrive. Even now, the arthouses—in partnership with innovative independent distributors—have been quick to respond to the current climate via virtual cinemas. As an alternative to video on demand through your cable TV box, your favorite theater is offering new foreign films, indies and documentaries for your rental pleasure.\u003c/p>\n\u003cp>Cinema at home provides a revenue stream for specialized theaters, and a way for filmgoers to support their local haunts until we can amble down the aisles in person. The programming typically combines wide releases with exclusive picks, sometimes with variable pricing. Bookmark this page and check your favorite theater’s offerings regularly.\u003c/p>\n\u003cfigure id=\"attachment_13881295\" class=\"wp-caption aligncenter\" style=\"max-width: 945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/LuckyGma2.jpg\" alt=\"\" width=\"945\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-768x553.jpg 768w\" sizes=\"(max-width: 945px) 100vw, 945px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Lucky Grandma.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ondemand.drafthouse.com\" target=\"blank\" rel=\"noopener noreferrer\">Alamo Drafthouse\u003c/a>\u003cbr>\nThe Texas chain with the Mission District outpost has an extensive online selection, Alamo On Demand, that ranges from this week’s releases (\u003cem>Lucky Grandma\u003c/em>) to recent stuff you may have missed (\u003cem>Portrait of a Lady on Fire\u003c/em>) to vintage faves (\u003cem>Rock ‘n’ Roll High School\u003c/em>).\u003c/p>\n\u003cp>https://vimeo.com/409776896\u003c/p>\n\u003cp>\u003ca href=\"https://bampfa.org/from-home#watch-from-home\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\nThe East Bay pantheon’s online cinema, BAMPFA from Home, hosts limited runs of restorations and revivals (Hungarian director István Szabó’s ’80s triumphs \u003cem>Confidence\u003c/em>, \u003cem>Mephisto\u003c/em> and \u003cem>Colonel Redl\u003c/em>) as well as hotly anticipated new films (\u003cem>The Cordillera of Dreams\u003c/em>, Patricio Guzmán’s latest profound essay on Chilean geography, politics and memory).\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinemasf.com\" target=\"_blank\" rel=\"noopener noreferrer\">CinemaSF\u003c/a>\u003cbr>\nThe nonprofit parent of the Balboa and the Vogue has curated an excellent virtual screening room of new and recent films. The foodie doc \u003cem>Diana Kennedy: Nothing Fancy\u003c/em> is on now, with Penny Lane’s latest curio, \u003cem>Hail Satan?\u003c/em> opening Friday, June 5. Mark your calendar for June 26 and \u003cem>Ella Fitzgerald: Just One of Those Things\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://larktheater.net\" target=\"_blank\" rel=\"noopener noreferrer\">Lark\u003c/a>\u003cbr>\nMarin’s indie stalwart offers a wide-ranging smorgasbord, from the timely (unhappily so) documentary \u003cem>American Trial: The Eric Garner Story\u003c/em> to the British heart-tugger \u003cem>Military Wives\u003c/em> (starring international treasure Kristin Scott Thomas and Sharon Horgan).\u003c/p>\n\u003cfigure id=\"attachment_13881296\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ursula von Rydinsgsvard’s sculpture ‘Ona’ at Barclays Center, Brooklyn, 2013. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.roxie.com\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a>\u003cbr>\nRoxie Virtual Cinema is the place to find fringier docs and indies like \u003cem>José\u003c/em>, Li Cheng’s gay love story set in Guatemala City. The Roxie also programs non-exclusives, such as \u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>, a portrait of the revered sculptor opening Friday, June 5 at several of the theaters on this list.\u003c/p>\n\u003cp>\u003ca href=\"https://rafaelfilm.cafilm.org\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a>\u003cbr>\nThe California Film Institute’s Rafael@Home offers an eclectic and often-surprising lineup, including the work of Marin County filmmakers Nancy Kelly and Kenji Yamamura (the splendidly restored 1991 Western \u003cem>Thousand Pieces of Gold\u003c/em>, pairing a young Rosalind Chao and Chris Cooper) and Eli Adler (\u003cem>Surviving Skokie\u003c/em>, a gripping 2015 doc about post-Holocaust anti-Semitism).\u003c/p>\n\u003cp>While some films are only available for a limited time, it turns out it’s often easier to extend a virtual booking than a physical one. That’s not a reason to procrastinate, mind you, but it is a rare silver lining in the current maelstrom.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early days of the COVID-19 shutdown, both the trade and mainstream press fretted that the spike in home streaming would accelerate the decline, if not demise, of the theater experience. Even at this premature date, it seems safe to conclude that, for better or worse, it will take more than a pandemic to knock out Hollywood blockbusters and the multiplexes that show them.\u003c/p>\n\u003cp>On the contrary, sheltering in one’s own place has reminded us of the fundamental need to congregate with strangers in public spaces. I’ll wager that well after lockdown fever has subsided and pent-up demand is fulfilled—by next summer, let’s say—people will pack movie theaters in numbers not seen since the turn of the millennium.\u003c/p>\n\u003cp>Arthouse cinemas, located in dense urban centers and catering to diverse tastes, will likewise thrive. Even now, the arthouses—in partnership with innovative independent distributors—have been quick to respond to the current climate via virtual cinemas. As an alternative to video on demand through your cable TV box, your favorite theater is offering new foreign films, indies and documentaries for your rental pleasure.\u003c/p>\n\u003cp>Cinema at home provides a revenue stream for specialized theaters, and a way for filmgoers to support their local haunts until we can amble down the aisles in person. The programming typically combines wide releases with exclusive picks, sometimes with variable pricing. Bookmark this page and check your favorite theater’s offerings regularly.\u003c/p>\n\u003cfigure id=\"attachment_13881295\" class=\"wp-caption aligncenter\" style=\"max-width: 945px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/LuckyGma2.jpg\" alt=\"\" width=\"945\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2.jpg 945w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/LuckyGma2-768x553.jpg 768w\" sizes=\"(max-width: 945px) 100vw, 945px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Lucky Grandma.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://ondemand.drafthouse.com\" target=\"blank\" rel=\"noopener noreferrer\">Alamo Drafthouse\u003c/a>\u003cbr>\nThe Texas chain with the Mission District outpost has an extensive online selection, Alamo On Demand, that ranges from this week’s releases (\u003cem>Lucky Grandma\u003c/em>) to recent stuff you may have missed (\u003cem>Portrait of a Lady on Fire\u003c/em>) to vintage faves (\u003cem>Rock ‘n’ Roll High School\u003c/em>).\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://bampfa.org/from-home#watch-from-home\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\nThe East Bay pantheon’s online cinema, BAMPFA from Home, hosts limited runs of restorations and revivals (Hungarian director István Szabó’s ’80s triumphs \u003cem>Confidence\u003c/em>, \u003cem>Mephisto\u003c/em> and \u003cem>Colonel Redl\u003c/em>) as well as hotly anticipated new films (\u003cem>The Cordillera of Dreams\u003c/em>, Patricio Guzmán’s latest profound essay on Chilean geography, politics and memory).\u003c/p>\n\u003cp>\u003ca href=\"https://www.cinemasf.com\" target=\"_blank\" rel=\"noopener noreferrer\">CinemaSF\u003c/a>\u003cbr>\nThe nonprofit parent of the Balboa and the Vogue has curated an excellent virtual screening room of new and recent films. The foodie doc \u003cem>Diana Kennedy: Nothing Fancy\u003c/em> is on now, with Penny Lane’s latest curio, \u003cem>Hail Satan?\u003c/em> opening Friday, June 5. Mark your calendar for June 26 and \u003cem>Ella Fitzgerald: Just One of Those Things\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://larktheater.net\" target=\"_blank\" rel=\"noopener noreferrer\">Lark\u003c/a>\u003cbr>\nMarin’s indie stalwart offers a wide-ranging smorgasbord, from the timely (unhappily so) documentary \u003cem>American Trial: The Eric Garner Story\u003c/em> to the British heart-tugger \u003cem>Military Wives\u003c/em> (starring international treasure Kristin Scott Thomas and Sharon Horgan).\u003c/p>\n\u003cfigure id=\"attachment_13881296\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881296\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/TRAUB_UVR_INTOHEROWN_STILL23_1920-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ursula von Rydinsgsvard’s sculpture ‘Ona’ at Barclays Center, Brooklyn, 2013. \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.roxie.com\" target=\"_blank\" rel=\"noopener noreferrer\">Roxie\u003c/a>\u003cbr>\nRoxie Virtual Cinema is the place to find fringier docs and indies like \u003cem>José\u003c/em>, Li Cheng’s gay love story set in Guatemala City. The Roxie also programs non-exclusives, such as \u003cem>Ursula von Rydingsvard: Into Her Own\u003c/em>, a portrait of the revered sculptor opening Friday, June 5 at several of the theaters on this list.\u003c/p>\n\u003cp>\u003ca href=\"https://rafaelfilm.cafilm.org\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a>\u003cbr>\nThe California Film Institute’s Rafael@Home offers an eclectic and often-surprising lineup, including the work of Marin County filmmakers Nancy Kelly and Kenji Yamamura (the splendidly restored 1991 Western \u003cem>Thousand Pieces of Gold\u003c/em>, pairing a young Rosalind Chao and Chris Cooper) and Eli Adler (\u003cem>Surviving Skokie\u003c/em>, a gripping 2015 doc about post-Holocaust anti-Semitism).\u003c/p>\n\u003cp>While some films are only available for a limited time, it turns out it’s often easier to extend a virtual booking than a physical one. That’s not a reason to procrastinate, mind you, but it is a rare silver lining in the current maelstrom.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "A Sketchfest Tribute to Remember Fred Willard By",
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"content": "\u003cp>It’s the mark of a good film comedian when one of their lines enters your everyday lexicon. And so it is with me and Fred Willard, the film comedian who died last week at age 86. Any time I see a dog of the hound variety, I can’t help but blurt out, “This is just an idea, but why don’t they give him one of those Sherlock Holmes hats, and put a little pipe in his mouth?” On its face, it’s a stupid, throwaway line, one that you might recognize from the 2000 comedy \u003cem>Best In Show\u003c/em>. And yet Willard makes it so funny that it sticks with you. This was the \u003ca href=\"https://thedissolve.com/news/4777-in-best-in-show-fred-willard-gets-inside-the-brain/\" rel=\"noopener noreferrer\" target=\"_blank\">mark of his talent\u003c/a>, to render seemingly improvised asides as the main joke.\u003c/p>\n\u003cp>Three years ago, the organizers of Sketchfest decided to pull Willard out of the supporting role and give him a bona fide tribute in San Francisco, complete with co-stars, friends and the director Christopher Guest, with whom he made films like \u003cem>This is Spinal Tap\u003c/em>, \u003cem>Waiting for Guffman\u003c/em>, \u003cem>A Mighty Wind\u003c/em> and, of course, \u003cem>Best in Show\u003c/em>. To honor him, Sketchfest has put the entire tribute to Willard up \u003ca href=\"https://vimeo.com/420730208\" rel=\"noopener noreferrer\" target=\"_blank\">online for free\u003c/a>, as part of a pivot to online offerings. Also on the Sketchfest site are past tributes to Molly Shannon, Peaches Christ, the cast of \u003cem>Airplane\u003c/em>, and the cast of \u003cem>Best in Show\u003c/em>—with more archival tributes added weekly. \u003ca href=\"https://www.sfsketchfest.com/watch/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the mark of a good film comedian when one of their lines enters your everyday lexicon. And so it is with me and Fred Willard, the film comedian who died last week at age 86. Any time I see a dog of the hound variety, I can’t help but blurt out, “This is just an idea, but why don’t they give him one of those Sherlock Holmes hats, and put a little pipe in his mouth?” On its face, it’s a stupid, throwaway line, one that you might recognize from the 2000 comedy \u003cem>Best In Show\u003c/em>. And yet Willard makes it so funny that it sticks with you. This was the \u003ca href=\"https://thedissolve.com/news/4777-in-best-in-show-fred-willard-gets-inside-the-brain/\" rel=\"noopener noreferrer\" target=\"_blank\">mark of his talent\u003c/a>, to render seemingly improvised asides as the main joke.\u003c/p>\n\u003cp>Three years ago, the organizers of Sketchfest decided to pull Willard out of the supporting role and give him a bona fide tribute in San Francisco, complete with co-stars, friends and the director Christopher Guest, with whom he made films like \u003cem>This is Spinal Tap\u003c/em>, \u003cem>Waiting for Guffman\u003c/em>, \u003cem>A Mighty Wind\u003c/em> and, of course, \u003cem>Best in Show\u003c/em>. To honor him, Sketchfest has put the entire tribute to Willard up \u003ca href=\"https://vimeo.com/420730208\" rel=\"noopener noreferrer\" target=\"_blank\">online for free\u003c/a>, as part of a pivot to online offerings. Also on the Sketchfest site are past tributes to Molly Shannon, Peaches Christ, the cast of \u003cem>Airplane\u003c/em>, and the cast of \u003cem>Best in Show\u003c/em>—with more archival tributes added weekly. \u003ca href=\"https://www.sfsketchfest.com/watch/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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