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"content": "\u003cp>A new documentary, \u003cem>Black Patriots: Heroes of the Revolution,\u003c/em> introduces us to heroes of the American Revolution who aren’t typically found in history books. They are a writer, a double agent, a martyr and a soldier—and they are all black.\u003c/p>\n\u003cfigure id=\"attachment_13875022\" class=\"wp-caption alignright\" style=\"max-width: 301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png\" alt=\"Kareem Abdul-Jabbar is the executive producer of 'Black Patriots.'\" width=\"301\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM.png 301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Screen-Shot-2020-02-16-at-11.04.35-PM-160x213.png 160w\" sizes=\"(max-width: 301px) 100vw, 301px\">\u003cfigcaption class=\"wp-caption-text\">Kareem Abdul-Jabbar is the executive producer of ‘Black Patriots.’ \u003ccite>(Jai Lennard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kareem Abdul-Jabbar is the executive producer. He is a Hall of Fame basketball player, writer, activist, and in 2016 the recipient of the Presidential Medal of Freedom.\u003c/p>\n\u003cp>Abdul-Jabbar says he was born and raised in New York City, in “the last part of Manhattan that George Washington controlled before he had to leave and escape and go to Valley Forge,” he says. “You know, I read about that incident in my history books, and I was surprised to find out that it happened in in my neighborhood. So after that, you know. My experiences as a child, we often would find like musket balls and arrowheads in the parks. Right there in northern Manhattan. And you know, I felt a real connection to the history of that area.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why we don’t know these stories\u003c/strong>\u003c/p>\n\u003cp>Well, we don’t know the stories already because people who write history books, or who have written most of the history books have focused on what European Americans thought, and what their objectives were, and what they did to make those objectives become real. And anybody who was not European was not seen as being worth depicting, because their stake in it seemed to be non-existent. This nation was founded by white people, for white people. At the time, blacks were not allowed citizenship. Women were not allowed to vote. Native Americans were not allowed citizenship. That’s the way it was back in those days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On the story that had the most impact on him\u003c/strong>\u003c/p>\n\u003cp>Well, Peter Salem is absolutely a hero doing a heroic thing at a very crucial time. Peter Salem frustrated the final attempt by the British to take the field [at the Battle of Bunker Hill] by shooting Major Pitcairn, who was an officer in the British army. He shot him before he could gather the troops. The British professional soldiers thought that they could run our side off of the field because, you know, they weren’t professional soldiers. But we changed their mind over the period of the Revolutionary War. And in the end, the British had to concede.\u003c/p>\n\u003cp>\u003ca href=\"https://nmaahc.si.edu/blog/peter-salem-and-battle-bunker-hill\" target=\"_blank\" rel=\"noopener noreferrer\">There’s a painting of the Battle of Bunker Hill\u003c/a> and Peter Salem, I think, is in it. He’s down in a corner hiding behind the shoulder of one of the white American officers. And you almost don’t see him. I think in some in some paintings he’s been cropped off. But there’s a black soldier there.\u003c/p>\n\u003cp>\u003cstrong>On black Americans during the Revolution\u003c/strong>\u003c/p>\n\u003cp>Both sides of the war really tried to recruit black slaves into their army, and they promised freedom to any black slave that would join either army. The ones that joined the revolutionary cause were lied to. They were not granted their freedom after they did serve in the army. But the blacks that joined the British army were able to effect their own freedom. 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"content": "\u003cp>About 10 years ago, traveling through San Antonio, I visited the Alamo. And one of the first questions I asked the tour guide was, “So how many people ask to see the basement?” He rolled his eyes. “At least one a day,” he told me.\u003c/p>\n\u003cp>There is no basement at the Alamo, but in the 1985 movie \u003cem>Pee Wee’s Big Adventure\u003c/em>, it’s \u003ca href=\"https://www.youtube.com/watch?v=cYfjq3ZYZbA\" rel=\"noopener noreferrer\" target=\"_blank\">a key plot point\u003c/a>. Of course, there are about 28 different plot points in the movie—it’s a jam-packed, madcap trip through a strange, campy America. The journey includes scary truck drivers, giant roadside dinosaurs, a quirky dance to the 1950s instrumental “Tequila,” and one man in search of his stolen bicycle.\u003c/p>\n\u003cp>\u003cem>Pee Wee’s Big Adventure\u003c/em> comes to town this month with Pee Wee Herman himself (Paul Reubens) discussing the making of the film afterward. If you want a reminder of just how surreal American culture can be, I wholly recommend it. That’s on Friday, Feb. 28, at the Masonic in San Francisco. \u003ca href=\"https://sfmasonic.com/event/pee-wee-herman-big-adventure-35th-anniversary/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 10 years ago, traveling through San Antonio, I visited the Alamo. And one of the first questions I asked the tour guide was, “So how many people ask to see the basement?” He rolled his eyes. “At least one a day,” he told me.\u003c/p>\n\u003cp>There is no basement at the Alamo, but in the 1985 movie \u003cem>Pee Wee’s Big Adventure\u003c/em>, it’s \u003ca href=\"https://www.youtube.com/watch?v=cYfjq3ZYZbA\" rel=\"noopener noreferrer\" target=\"_blank\">a key plot point\u003c/a>. Of course, there are about 28 different plot points in the movie—it’s a jam-packed, madcap trip through a strange, campy America. The journey includes scary truck drivers, giant roadside dinosaurs, a quirky dance to the 1950s instrumental “Tequila,” and one man in search of his stolen bicycle.\u003c/p>\n\u003cp>\u003cem>Pee Wee’s Big Adventure\u003c/em> comes to town this month with Pee Wee Herman himself (Paul Reubens) discussing the making of the film afterward. If you want a reminder of just how surreal American culture can be, I wholly recommend it. That’s on Friday, Feb. 28, at the Masonic in San Francisco. \u003ca href=\"https://sfmasonic.com/event/pee-wee-herman-big-adventure-35th-anniversary/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The photograph in \u003cem>The Photograph\u003c/em> is the lone portrait of the photographer herself, shown slumping at a kitchen table in a humble Gulf-side home in rural Louisiana. The man who took the shot is her boyfriend, a third-generation fisherman who’s content to marry her and stay put. As it happens, it’s the last night they spend together as a couple, because she’s resolved to pursue her dreams as an artist in New York City and will be taking the first Greyhound bus out of town in the morning. The picture says 1,000 words: She’s sad and uncomfortable in the frame, as if her boyfriend has attempted to box her into a life she doesn’t want.\u003c/p>\n\u003cp>Writer-director Stella Meghie’s half-turgid, half-affecting romance circles around the powerful idea of that shot as a means for the photographer’s daughter to understand her distant mother and perhaps to understand herself, too. This structural push-and-pull between past and present—and between the humble sun-kissed idyll of the Gulf Shore and the Nancy Meyers kitchens of New York—may seem familiar from Nicholas Sparks adaptations, but Meghie seems to evoke them in order to subvert them. She answers the lily-whiteness of Sparks’ characters with African Americans for one, but she also cranks down the melodrama. She’s searching for human moments, not outrageous turns of the plot.\u003c/p>\n\u003cp>The consequence for \u003cem>The Photograph\u003c/em> is that most of it is curiously flat and under-seasoned, despite two stars in Issa Rae and Lakeith Stanfield who have an abundance of chemistry together. Rae stars as Mae Morton, daughter of the renowned photographer Christina Eames (Chante Adams), who’s having a posthumous retrospective of her work in New York. Mae discovers the shot of her mother in a safety deposit box and the film circles back to Louisiana, where Christina’s ex-boyfriend Issac (Rob Morgan) still seems raw 30 years after she left. In flashbacks, Issac (played as a young adult by Y’lan Noel) argues with Christina about their future, but is nonetheless thunderstruck when she leaves without a word.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=954b9vLAT6Y\u003c/p>\n\u003cp>In the present, Mae strikes up a relationship with Michael (Stanfield), the hotshot feature journalist assigned to write about her mother’s life and work. The two fall hard for each other, but Michael’s plan to take a job in London summons the abandonment issues that have haunted her since childhood. They’re too new to each other to demand or expect a long-term commitment, but it seems like one of those connections that’s worth a gamble. And given the lonely life of her mother, Mae naturally worries that she might be doomed to the same fate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rae and Stanfield are effortlessly funny performers, but Meghie limits their spontaneity even in more casual, flirtier, getting-to-know-you encounters. She also smothers the film in a soft-jazz score that reinforces the earnest tone, as if the drama would somehow lose its power if it were played from any other angle. \u003cem>The Photograph\u003c/em> always seems a beat or two slower than it should be, which makes it easier to see the gears of its plot turning away, leading the audience to unsurprising destinations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet there are moments when Meghie’s strategy pays off and playing the emotions straight winds up dignifying and strengthening them. The efforts of Mae and the older Issac to process Christina’s loss are subtly rhymed, as they try to reconcile the love she had for them with a deeper and more private need to express herself. And Stanfield’s performance as Michael seems cool and disengaged until he finally lets down his guard, and a small dam bursts in his eyes. \u003cem>The Photograph\u003c/em> is a Valentine’s card on tastefully embossed stationary, but at least the sentiments within seem genuine.\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=Romantic+Drama+%27The+Photograph%27+Is+Unfocused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The photograph in \u003cem>The Photograph\u003c/em> is the lone portrait of the photographer herself, shown slumping at a kitchen table in a humble Gulf-side home in rural Louisiana. The man who took the shot is her boyfriend, a third-generation fisherman who’s content to marry her and stay put. As it happens, it’s the last night they spend together as a couple, because she’s resolved to pursue her dreams as an artist in New York City and will be taking the first Greyhound bus out of town in the morning. The picture says 1,000 words: She’s sad and uncomfortable in the frame, as if her boyfriend has attempted to box her into a life she doesn’t want.\u003c/p>\n\u003cp>Writer-director Stella Meghie’s half-turgid, half-affecting romance circles around the powerful idea of that shot as a means for the photographer’s daughter to understand her distant mother and perhaps to understand herself, too. This structural push-and-pull between past and present—and between the humble sun-kissed idyll of the Gulf Shore and the Nancy Meyers kitchens of New York—may seem familiar from Nicholas Sparks adaptations, but Meghie seems to evoke them in order to subvert them. She answers the lily-whiteness of Sparks’ characters with African Americans for one, but she also cranks down the melodrama. She’s searching for human moments, not outrageous turns of the plot.\u003c/p>\n\u003cp>The consequence for \u003cem>The Photograph\u003c/em> is that most of it is curiously flat and under-seasoned, despite two stars in Issa Rae and Lakeith Stanfield who have an abundance of chemistry together. Rae stars as Mae Morton, daughter of the renowned photographer Christina Eames (Chante Adams), who’s having a posthumous retrospective of her work in New York. Mae discovers the shot of her mother in a safety deposit box and the film circles back to Louisiana, where Christina’s ex-boyfriend Issac (Rob Morgan) still seems raw 30 years after she left. In flashbacks, Issac (played as a young adult by Y’lan Noel) argues with Christina about their future, but is nonetheless thunderstruck when she leaves without a word.\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/954b9vLAT6Y'\n title='//www.youtube.com/embed/954b9vLAT6Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the present, Mae strikes up a relationship with Michael (Stanfield), the hotshot feature journalist assigned to write about her mother’s life and work. The two fall hard for each other, but Michael’s plan to take a job in London summons the abandonment issues that have haunted her since childhood. They’re too new to each other to demand or expect a long-term commitment, but it seems like one of those connections that’s worth a gamble. And given the lonely life of her mother, Mae naturally worries that she might be doomed to the same fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rae and Stanfield are effortlessly funny performers, but Meghie limits their spontaneity even in more casual, flirtier, getting-to-know-you encounters. She also smothers the film in a soft-jazz score that reinforces the earnest tone, as if the drama would somehow lose its power if it were played from any other angle. \u003cem>The Photograph\u003c/em> always seems a beat or two slower than it should be, which makes it easier to see the gears of its plot turning away, leading the audience to unsurprising destinations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Yet there are moments when Meghie’s strategy pays off and playing the emotions straight winds up dignifying and strengthening them. The efforts of Mae and the older Issac to process Christina’s loss are subtly rhymed, as they try to reconcile the love she had for them with a deeper and more private need to express herself. And Stanfield’s performance as Michael seems cool and disengaged until he finally lets down his guard, and a small dam bursts in his eyes. \u003cem>The Photograph\u003c/em> is a Valentine’s card on tastefully embossed stationary, but at least the sentiments within seem genuine.\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=Romantic+Drama+%27The+Photograph%27+Is+Unfocused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmaker Tracks Bezos' 'Rise and Reign' and How Amazon Became 'Inescapable'",
"headTitle": "Filmmaker Tracks Bezos’ ‘Rise and Reign’ and How Amazon Became ‘Inescapable’ | KQED",
"content": "\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXzDXsXKjFk\u003c/p>\n\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\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=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Director James Jacoby catalogs the reach of the tech giant in his new PBS FRONTLINE documentary, 'Amazon Empire.' \"So much power is pooled into the hands of one company and one man,\" he says.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amazon founder Jeff Bezos is now the richest man in the world, with an empire that stretches from Hollywood to Whole Foods—and even \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/09/15/440521318/amazons-bezos-announces-plan-to-build-launch-rockets-from-florida\" target=\"_blank\" rel=\"noopener noreferrer\">into outer space\u003c/a>.\u003c/p>\n\u003cp>The new PBS FRONTLINE documentary, \u003cem>Amazon Empire: The Rise And Reign Of Jeff Bezos,\u003c/em> investigates how Bezos transformed Amazon from an online bookseller into a trillion-dollar business that’s unprecedented in its size and reach. Director James Jacoby, who worked with fellow filmmaker Anya Bourg on the project, calls the company an “inescapable part of our modern lives.”\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/DXzDXsXKjFk'\n title='//www.youtube.com/embed/DXzDXsXKjFk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s not just how the majority of Americans are shopping online,” he says. “It’s also these devices in our homes. It’s also the facial recognition software that’s used by police departments. It’s cloud computing for the government and national security establishment.”\u003c/p>\n\u003cp>Jacoby notes that Amazon’s ubiquity—and the fact that “so much power is pooled into the hands of one company and one man”—raises a host of issues. The company’s Echo smart speaker has been known to record—and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614470096/amazon-echo-recorded-and-sent-couples-conversation-all-without-their-knowledge\" target=\"_blank\" rel=\"noopener noreferrer\">occasionally listen to\u003c/a>—the conversations of unsuspecting homeowners. In 2019, the European Union antitrust arm announced an \u003ca href=\"https://www.npr.org/2019/07/17/742615426/eu-investigates-if-amazon-hurts-competition-by-using-sellers-data\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> into Amazon’s use of data collected from third-party sellers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think that [\u003cem>Atlantic \u003c/em>writer] Franklin Foer in the film puts it best, which is like everything that’s amazing or awesome about Jeff Bezos and Amazon is also something to be feared about Amazon and Jeff Bezos,” Jacoby says.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why, in part, Amazon began as a bookseller\u003c/strong>\u003c/p>\n\u003cp>Books are easy to ship. … And [Bezos] also realized that in the online world, there would be an advantage that no single bookstore could hold all of the books in print. … He also, I think, saw an opportunity to learn about customers through what they read. He recognized very early on the power of data to predict what people would want. So in many ways, you are what you read and you could glean a lot about a customer from what he or she reads.\u003c/p>\n\u003cp>\u003cstrong>On working conditions in Amazon warehouses \u003c/strong>\u003c/p>\n\u003cp>We spoke to dozens of current and former employees in the reporting process. The nature of the work has changed a bit over the years. When Bezos was first building out these fulfillment centers all over the country in order to deliver on the promise of delivering packages quickly, it was almost ad hoc. They were growing so quickly. And there were a lot of complaints at the time about things like heat stress. There wouldn’t be the proper air conditioning in these warehouses, and people would be working like crazy to try to meet these quotas to get the packages out. People would be fainting in these warehouses. There’d be injuries.\u003c/p>\n\u003cp>Over time, the warehouses have become much more systematized, in part because of the automation of the warehouses and buying a robot company that helped to automate things. But one thing that hasn’t changed in talking to workers—both current and former—is the pace of work is incredibly grueling. You have to make rates. … The rate essentially measures how quickly you pick and pack items. … Every single worker we spoke to [talked about how] the rates were really high. They have a way of setting the rates for the whole warehouse—that if you don’t make that rate, then you can get a write up. And if you get three write ups, then you can be fired. There’s a lot of anxiety in these warehouses about making rates.\u003c/p>\n\u003cfigure id=\"attachment_13874906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ap_17355673041435-da6c9a9e352c23da25128aaa655674b4308acd76-800x600.jpg\" alt=\"A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">A clerk picks an item for a customer order at the Amazon Prime warehouse in New York. \u003ccite>(Mark Lennihan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On a recent hack on Amazon’s “Ring” cameras \u003c/strong>\u003c/p>\n\u003cp>Ring makes these doorbell cameras, that was their first main device. … It’s a doorbell that has a camera on it. In part, Amazon liked the idea of it, because package theft is a big deal for the company—a lot of people get packages to their door and someone’s stealing that package. So now you can watch your front step. Of course, if the camera is watching the front step, it’s also watching the public space on the street as well, which is somewhat problematic. So there’s now this whole suite of Ring devices and Ring cameras, not just to monitor the outside of your home but also the inside of your home.\u003c/p>\n\u003cp>There was a \u003ca href=\"https://www.washingtonpost.com/nation/2019/12/12/she-installed-ring-camera-her-childrens-room-peace-mind-hacker-accessed-it-harassed-her-year-old-daughter/?arc404=true\" target=\"_blank\" rel=\"noopener noreferrer\">recent hack\u003c/a> of indoor Ring cameras, which was rather frightful. … There’s a little girl in her room and her parents had installed a Ring camera in that room and all of a sudden there’s a voice coming from the camera that’s basically terrorizing her as she’s alone in her room.\u003c/p>\n\u003cp>\u003cstrong>On how facial recognition software and data collection is in Amazon’s hands, and is vulnerable to hacks and bad agents \u003c/strong>\u003c/p>\n\u003cp>All of this data, all of these networks—it’s all up to Amazon to manage this well. And they say that that’s the thing that holds them accountable, keeps them responsible on a daily basis, is that they can’t breach customer trust. For a company that’s built its brand on building customer trust on delivering for customers, on not breaching their trust, these sorts of hacks, these sorts of problems, are devastating to their image, because it gets customers and citizens concerned about whether we should entrust a company like Amazon with all of this. And, of course, there are safeguards in place.\u003c/p>\n\u003cp>But I think some of the larger questions about Amazon are whether there are really any auditing systems, public auditing systems for cases of abuse. … We’re reliant on a private company to police abuse, and there’s no way to publicly audit whether they’re doing a good job of that. And that’s something that we asked Amazon executives about—not just about Ring cameras and Echo devices—but certainly facial recognition software, which is a very powerful tool that they have really encouraged police departments around the country to experiment with.\u003c/p>\n\u003cp>\u003cstrong>On Sen. Elizabeth Warren’s idea of \u003c/strong>\u003ca href=\"https://www.npr.org/2019/03/15/702707734/sen-elizabeth-warren-takes-longtime-fight-for-a-level-playing-field-to-2020-race\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>breaking up\u003c/strong>\u003c/a>\u003cstrong> big tech companies \u003c/strong>\u003c/p>\n\u003cp>Essentially, what “break them up” really means is to try to limit the lines of business that Amazon can engage in. So, for instance, Amazon is this platform for online commerce that they themselves are competing on as a store against other stores and retailers. So she has this idea of maybe they shouldn’t be competing on a platform that they own, maybe they shouldn’t be allowed to be doing that, because they have an unfair advantage. That’s in part what break them up means. And so I think it’s certainly something that Congress is going to be considering. And I think some of the other candidates have been supportive of that idea of breaking them up.\u003c/p>\n\u003cp>\u003cstrong>On Bezos’ space exploration company Blue Origin \u003c/strong>\u003c/p>\n\u003cp>When it comes to Jeff Bezos, he’s got two CEOs that are running Amazon and he has stepped away a bit from the company. I mean, he’s helping to expand it into India and other places. But as we understand it, his primary goal is to focus on his company Blue Origin. And Blue Origin is his space exploration company. It’s his rocket ship company. And essentially it’s the fulfillment of something that has been his lifelong goal and plan, which is to, as he puts it, build the infrastructure to go to space and to make it cost-effective for us to figure out what to do in space. …\u003c/p>\n\u003cp>[Bezos] claims—and I think he’s genuine in believing this—that he wants to save planet Earth, and his whole idea is that he wants there to be dynamism and growth. He believes in capitalism. He believes in consumerism. He believes that … we’re going to need to look to the heavens, essentially, to figure out how we can continue to live in a world of dynamism and growth. And that, in Jeff Bezos’ mind, means we may need to move heavy industry into space. We may need to mine other planets or planetary objects for their resources, or we may need to actually build space colonies. He is really serious about this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\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=Filmmaker+Tracks+Bezos%27+%27Rise+And+Reign%27+And+How+Amazon+Became+%27Inescapable%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What Fictional Pandemics Can Teach Us About Real-World Survival",
"headTitle": "What Fictional Pandemics Can Teach Us About Real-World Survival | KQED",
"content": "\u003cp>We’ve been telling stories about pandemics for a very long time. From an eighth century BCE poem about a \u003ca href=\"https://en.wikipedia.org/wiki/Erra_(god)\" target=\"_blank\" rel=\"noopener noreferrer\">Babylonian plague god\u003c/a> to the Old Testament’s ten plagues of Egypt to, well, the AMC megahit zombie show \u003cem>The Walking Dead\u003c/em>, now in its tenth season.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=79io403T1EM\u003c/p>\n\u003cp>Long ago, we understood mass outbreaks as divine punishment for human transgressions—but our stories about disease have changed over time. Although still fantastic, modern stories about disease tend to be rooted in political and social realities. Last year, the 800-page novel \u003cem>Wanderers\u003c/em> combined science fiction and horror with a techno-thriller focus on the rise of artificial intelligence and white nationalism in the aftermath of a pandemic. Author Chuck Wendig explains the appeal of writing a story where entire populations get sick and die: “Bringing these things into a book is like, you know, an ancient summoning. Summoning a demon into a summoning circle. Because that’s how you fight it.”\u003c/p>\n\u003cp>But how does fiction fight something like disease? In its own way, says writer and filmmaker Jeff Barnaby, by helping us make sense of the real world. Barnaby says today’s books, TV shows and movies based on pandemics explore how people live upon and move around a planet defined by compromised ecosystems, borders and barricades.\u003c/p>\n\u003cp>“You’re dealing with the aftermath of globalism,” he points out. “And I think you’re starting to see people make the link between how you treat the environment and the way the environment treats you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0hkO5UjSpw\u003c/p>\n\u003cp>Barnaby’s new movie, \u003cem>Blood Quantum\u003c/em>, is about a fast-spreading virus that turns people into zombies, but those with a certain amount of Native American heritage are immune. Barnaby, who belongs to the Mi’kmaq tribe in Canada, says indigenous people have been telling stories about pandemics for generations. “And they’ve been dealing with disease since first contact, so they’re well versed in catastrophes,” he says dryly.\u003c/p>\n\u003cp>\u003cem>Blood Quantum\u003c/em> hasn’t been released quite yet—it’s currently screening in festivals and it’ll be on the horror movie channel Shudder later this year. Barnaby sees stories about pandemics almost inevitably as about scapegoating and cultural anxieties. Discrimination and racism against Asians has intensified globally since the spread of coronavirus, as has been widely reported. On Netflix right now, a pandemic drama called \u003cem>\u003ca href=\"https://www.netflix.com/title/80066079\" target=\"_blank\" rel=\"noopener noreferrer\">Containment\u003c/a>\u003c/em> plays into stereotypes of Middle Eastern people as dangerous infiltrators—a Syrian refugee in Atlanta is patient zero, essentially a terrorist whose body is a weapon, a vector of disease.\u003c/p>\n\u003cp>In works by writers of color, pandemics sometimes serve as a metaphor for colonialism, says Maxine Montgomery, an English professor at Florida State University. In her writing on apocalyptic and post-apocalyptic literature by black women writers such as Octavia Butler and Toni Morrison, the human cost of pandemics, and the disproportionate suffering of vulnerable populations, are frequently invoked.\u003c/p>\n\u003cp>“Smallpox, other viruses as well, that are linked inextricably to slavery and colonialization,” Montgomery says. “In ways that suggest that slavery has residual consequences that we’ve not fully recognized or acknowledged.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4sYSyuuLk5g\u003c/p>\n\u003cp>Something’s missing from mainstream pandemic thrillers, she says, including \u003cem>Contagion\u003c/em>, the 2011 film that saw a spike on iTunes right about when the World Heath organization declared coronavirus a global emergency. And that’s a hard look at the issue of who gets treated when an epidemic breaks out, and who’s excluded from institutional safety nets.\u003c/p>\n\u003cp>In the fiction Montgomery studies, rescue rarely comes from the scientists at the Center for Disease Control or from research hospitals. “It’s always a matter of characters reaching back,” she says, to mend a deeper malady. Reconnecting with folk traditions isn’t likely to be adopted as a public policy recommendation, but Montgomery suggests the questions provoked by these stories are essential ones: “How we see people who are afflicted by disease. How we respond to them in terms of human empathy.”\u003c/p>\n\u003cp>Author Chuck Wendig says he hopes his novel \u003cem>Wanderers\u003c/em> does the same thing. “You know, I didn’t want to write a book that was fatalistic or nihilistic in how it dealt with people,” he says. There’s darkness and death in the stories we tell about pandemics, he adds, but that’s not what these stories are really about. They’re really about how we survive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Petra Mayer and Kelli Wessinger, and adapted for the Web by Petra Mayer.\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Fictional+Pandemics+Can+Teach+Us+About+Real-World+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve been telling stories about pandemics for a very long time. From an eighth century BCE poem about a \u003ca href=\"https://en.wikipedia.org/wiki/Erra_(god)\" target=\"_blank\" rel=\"noopener noreferrer\">Babylonian plague god\u003c/a> to the Old Testament’s ten plagues of Egypt to, well, the AMC megahit zombie show \u003cem>The Walking Dead\u003c/em>, now in its tenth season.\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/79io403T1EM'\n title='//www.youtube.com/embed/79io403T1EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Long ago, we understood mass outbreaks as divine punishment for human transgressions—but our stories about disease have changed over time. Although still fantastic, modern stories about disease tend to be rooted in political and social realities. Last year, the 800-page novel \u003cem>Wanderers\u003c/em> combined science fiction and horror with a techno-thriller focus on the rise of artificial intelligence and white nationalism in the aftermath of a pandemic. Author Chuck Wendig explains the appeal of writing a story where entire populations get sick and die: “Bringing these things into a book is like, you know, an ancient summoning. Summoning a demon into a summoning circle. Because that’s how you fight it.”\u003c/p>\n\u003cp>But how does fiction fight something like disease? In its own way, says writer and filmmaker Jeff Barnaby, by helping us make sense of the real world. Barnaby says today’s books, TV shows and movies based on pandemics explore how people live upon and move around a planet defined by compromised ecosystems, borders and barricades.\u003c/p>\n\u003cp>“You’re dealing with the aftermath of globalism,” he points out. “And I think you’re starting to see people make the link between how you treat the environment and the way the environment treats you.”\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/d0hkO5UjSpw'\n title='//www.youtube.com/embed/d0hkO5UjSpw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Barnaby’s new movie, \u003cem>Blood Quantum\u003c/em>, is about a fast-spreading virus that turns people into zombies, but those with a certain amount of Native American heritage are immune. Barnaby, who belongs to the Mi’kmaq tribe in Canada, says indigenous people have been telling stories about pandemics for generations. “And they’ve been dealing with disease since first contact, so they’re well versed in catastrophes,” he says dryly.\u003c/p>\n\u003cp>\u003cem>Blood Quantum\u003c/em> hasn’t been released quite yet—it’s currently screening in festivals and it’ll be on the horror movie channel Shudder later this year. Barnaby sees stories about pandemics almost inevitably as about scapegoating and cultural anxieties. Discrimination and racism against Asians has intensified globally since the spread of coronavirus, as has been widely reported. On Netflix right now, a pandemic drama called \u003cem>\u003ca href=\"https://www.netflix.com/title/80066079\" target=\"_blank\" rel=\"noopener noreferrer\">Containment\u003c/a>\u003c/em> plays into stereotypes of Middle Eastern people as dangerous infiltrators—a Syrian refugee in Atlanta is patient zero, essentially a terrorist whose body is a weapon, a vector of disease.\u003c/p>\n\u003cp>In works by writers of color, pandemics sometimes serve as a metaphor for colonialism, says Maxine Montgomery, an English professor at Florida State University. In her writing on apocalyptic and post-apocalyptic literature by black women writers such as Octavia Butler and Toni Morrison, the human cost of pandemics, and the disproportionate suffering of vulnerable populations, are frequently invoked.\u003c/p>\n\u003cp>“Smallpox, other viruses as well, that are linked inextricably to slavery and colonialization,” Montgomery says. “In ways that suggest that slavery has residual consequences that we’ve not fully recognized or acknowledged.”\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/4sYSyuuLk5g'\n title='//www.youtube.com/embed/4sYSyuuLk5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something’s missing from mainstream pandemic thrillers, she says, including \u003cem>Contagion\u003c/em>, the 2011 film that saw a spike on iTunes right about when the World Heath organization declared coronavirus a global emergency. And that’s a hard look at the issue of who gets treated when an epidemic breaks out, and who’s excluded from institutional safety nets.\u003c/p>\n\u003cp>In the fiction Montgomery studies, rescue rarely comes from the scientists at the Center for Disease Control or from research hospitals. “It’s always a matter of characters reaching back,” she says, to mend a deeper malady. Reconnecting with folk traditions isn’t likely to be adopted as a public policy recommendation, but Montgomery suggests the questions provoked by these stories are essential ones: “How we see people who are afflicted by disease. How we respond to them in terms of human empathy.”\u003c/p>\n\u003cp>Author Chuck Wendig says he hopes his novel \u003cem>Wanderers\u003c/em> does the same thing. “You know, I didn’t want to write a book that was fatalistic or nihilistic in how it dealt with people,” he says. There’s darkness and death in the stories we tell about pandemics, he adds, but that’s not what these stories are really about. They’re really about how we survive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Petra Mayer and Kelli Wessinger, and adapted for the Web by Petra Mayer.\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Fictional+Pandemics+Can+Teach+Us+About+Real-World+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been at least half a century since one could credibly say, “The sun never sets on the British empire.” Yet the British film industry has successfully maintained its status and reach, notwithstanding some fallow periods. Did you know that four of the actors and actresses nominated for this year’s Oscars hail from the former U.K.? It’ll take a lot more than Brexit to dethrone the Brits from hard-won screen stardom.\u003c/p>\n\u003cp>But like every national cinema, only a fraction of British films score U.S. distribution. The annual \u003ca href=\"http://mostlybritish.org\" rel=\"noopener noreferrer\" target=\"_blank\">Mostly British Film Festival\u003c/a>, at the Vogue Feb. 13–20, specializes in the lower-profile movies—adult films, one could say—that U.S. audiences generally don’t see: Intimate relationship dramas, small-gauge character studies, gritty directorial debuts.\u003c/p>\n\u003cp>A prime example is \u003cem>Mrs Lowry and Son\u003c/em> (no period, if you please), an interiors-heavy study of the fraught bond between the painter L. S. Lowry (Timothy Spall) and his mother (Vanessa Redgrave). Claire McCarthy’s \u003cem>Ophelia\u003c/em> also boasts an alluring cast, with Naomi Watts and Clive Owen providing stellar support to young lovers Daisy Ridley (\u003cem>Star Wars\u003c/em>) and George MacKay (\u003cem>1917\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13874666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/BAIT-photo.jpg\" alt=\"\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13874666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-1020x703.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mark Jenkin’s ‘Bait.’ \u003ccite>(Courtesy of Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cornwall documentary veteran Mark Jenkin received top prizes at both the BAFTAs and British Independent Film Awards for \u003cem>Bait\u003c/em>, his realism-steeped, black-and-white drama about a fisherman displaced by his brother’s pursuit of tourism dollars. Ken Loach’s latest bleak saga of working-class heroes, \u003cem>Sorry We Missed You\u003c/em>, traces the travails of a Newcastle couple ensnared (willingly, at first) by the entrepreneurial glories of the gig economy.\u003c/p>\n\u003cp>If blows against the empire aren’t your cuppa, perhaps rock the commonwealth is. The New Zealand musical romance \u003cem>Daffodils\u003c/em> sets its roller-coaster, ’60s-to-’80s love story to the lilting beat of old-school pop songs. It’s not all tea and roses, mind you, but plenty of toe-tapping chart-toppers were inspired by a breakup.\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 been at least half a century since one could credibly say, “The sun never sets on the British empire.” Yet the British film industry has successfully maintained its status and reach, notwithstanding some fallow periods. Did you know that four of the actors and actresses nominated for this year’s Oscars hail from the former U.K.? It’ll take a lot more than Brexit to dethrone the Brits from hard-won screen stardom.\u003c/p>\n\u003cp>But like every national cinema, only a fraction of British films score U.S. distribution. The annual \u003ca href=\"http://mostlybritish.org\" rel=\"noopener noreferrer\" target=\"_blank\">Mostly British Film Festival\u003c/a>, at the Vogue Feb. 13–20, specializes in the lower-profile movies—adult films, one could say—that U.S. audiences generally don’t see: Intimate relationship dramas, small-gauge character studies, gritty directorial debuts.\u003c/p>\n\u003cp>A prime example is \u003cem>Mrs Lowry and Son\u003c/em> (no period, if you please), an interiors-heavy study of the fraught bond between the painter L. S. Lowry (Timothy Spall) and his mother (Vanessa Redgrave). Claire McCarthy’s \u003cem>Ophelia\u003c/em> also boasts an alluring cast, with Naomi Watts and Clive Owen providing stellar support to young lovers Daisy Ridley (\u003cem>Star Wars\u003c/em>) and George MacKay (\u003cem>1917\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13874666\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/BAIT-photo.jpg\" alt=\"\" width=\"1200\" height=\"827\" class=\"size-full wp-image-13874666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/BAIT-photo-1020x703.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mark Jenkin’s ‘Bait.’ \u003ccite>(Courtesy of Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cornwall documentary veteran Mark Jenkin received top prizes at both the BAFTAs and British Independent Film Awards for \u003cem>Bait\u003c/em>, his realism-steeped, black-and-white drama about a fisherman displaced by his brother’s pursuit of tourism dollars. Ken Loach’s latest bleak saga of working-class heroes, \u003cem>Sorry We Missed You\u003c/em>, traces the travails of a Newcastle couple ensnared (willingly, at first) by the entrepreneurial glories of the gig economy.\u003c/p>\n\u003cp>If blows against the empire aren’t your cuppa, perhaps rock the commonwealth is. The New Zealand musical romance \u003cem>Daffodils\u003c/em> sets its roller-coaster, ’60s-to-’80s love story to the lilting beat of old-school pop songs. It’s not all tea and roses, mind you, but plenty of toe-tapping chart-toppers were inspired by a breakup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, filmmaker Danielle Thompson and her family were evicted from their home in Oakland and moved to Pittsburg, a city 40 miles away. Using that experience as fuel, Danielle produced her first documentary film, \u003ca href=\"https://youthbeat.org/displaced\">Displaced\u003c/a>.\u003c/p>\n\u003cp>Danielle spends countless hours commuting each week because she’s working toward a communications degree at Hayward’s Cal State East Bay while holding down a job in Oakland.\u003c/p>\n\u003cp>She’s an instructor at Youth Beat, a nonprofit that shows young people the ropes in the world of media making. Danielle first connected with the program as a teenager, and now she’s working to give back to the organization that introduced her to filmmaking.\u003c/p>\n\u003cp>Inside the studios at Youth Beat’s headquarters, Danielle and I discussed her film, gentrification in Oakland and how she hopes her career will one day bring in enough financial resources to allow her to move back to her hometown.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, filmmaker Danielle Thompson and her family were evicted from their home in Oakland and moved to Pittsburg, a city 40 miles away. Using that experience as fuel, Danielle produced her first documentary film, \u003ca href=\"https://youthbeat.org/displaced\">Displaced\u003c/a>.\u003c/p>\n\u003cp>Danielle spends countless hours commuting each week because she’s working toward a communications degree at Hayward’s Cal State East Bay while holding down a job in Oakland.\u003c/p>\n\u003cp>She’s an instructor at Youth Beat, a nonprofit that shows young people the ropes in the world of media making. Danielle first connected with the program as a teenager, and now she’s working to give back to the organization that introduced her to filmmaking.\u003c/p>\n\u003cp>Inside the studios at Youth Beat’s headquarters, Danielle and I discussed her film, gentrification in Oakland and how she hopes her career will one day bring in enough financial resources to allow her to move back to her hometown.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Electric Dreams’ is the Perfect Bay Area Valentine’s Day Movie",
"headTitle": "‘Electric Dreams’ is the Perfect Bay Area Valentine’s Day Movie | KQED",
"content": "\u003cp>On the one hand, it’s a story about a desktop computer facilitating a romantic relationship. On the other, it’s a dystopian nightmare about sentient hardware wielding too much power over humanity.\u003c/p>\n\u003cp>As such, 1984’s\u003ca href=\"https://www.imdb.com/title/tt0087197/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Electric Dreams\u003c/em>\u003c/a> is what we in the the belly of the tech beast should all be watching this \u003ca href=\"https://www.kqed.org/arts/13925062/earnest-or-playful-your-valentines-card-has-a-history\">Valentine’s Day\u003c/a>.\u003c/p>\n\u003cp>Based in San Francisco, this strange little romance concerns itself with a love triangle between a nerdy architect (Miles), his cello-playing upstairs neighbor (Madeline) and a home computer who—*cue Whitesnake*—just wants to know what love is. (It’s worth noting that, at one point, the computer discovers that “\u003ca href=\"https://www.youtube.com/watch?v=_ut11U4JupI\" target=\"_blank\" rel=\"noopener noreferrer\">Love is Love\u003c/a>” via the medium of a Culture Club song, decades before that even became an official marriage equality slogan.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ek08KvgqFGM\u003c/p>\n\u003cp>The story goes like this: Miles is talked into getting a \u003ca href=\"https://en.wikipedia.org/wiki/PalmPilot\" target=\"_blank\" rel=\"noopener noreferrer\">PalmPilot\u003c/a> by a colleague who enthusiastically tells him that there is now “a computer” that is “a 12-month planner-organizer, that tells you the time anywhere in the world, plots your biorhythms (!) and plays ‘Happy Birthday’ on your birthday.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swayed by that last thing (no, really), Miles heads to the store to buy one, only to find the tech Filofax he wanted is all sold out. He is subsequently persuaded to buy a home computer by a sales assistant who, faced with Miles declaring “I don’t know anything about computers,” gleefully replies: “Nobody does!” (Oh, 1984.)\u003c/p>\n\u003cp>[aside postid='pop_109425']At home, the computer’s boxy green text informs Miles that it can be used in four capacities: as a games console (it has \u003cem>Pong\u003c/em>!); a phone dialer (woo?) and a controller of his home appliances and front door (which I’m almost positive was \u003ca href=\"https://www.somfy.com.au/Blog/Post/2018-03-07-a-quick-history-of-home-automation\" target=\"_blank\" rel=\"noopener noreferrer\">not a real thing\u003c/a> at the time this was made). One night, the computer starts overheating, so Miles pours champagne all over it in an attempt to cool it down. (Did I mention that \u003cem>Electric Dreams\u003c/em> is also unintentionally hilarious? Because it quite often is.) As a result, the next day, the computer comes alive with human-like consciousness (it’s called Edgar now) and starts mimicking the sounds of Madeline playing cello upstairs.\u003c/p>\n\u003cp>On hearing the sexy synthesized music coming up through the vents, Madeline assumes Miles is wooing her. She’s so blown away by the hot, modern, blurpy sound, she immediately starts dating him. Slowly but surely, as the relationship heats up like a smoking motherboard, Edgar (still a computer) becomes obsessed with Madeline and starts demanding that Miles let him “kiss her” and “touch her.” (It’s implied that this is also related to how many soap operas Edgar watches while Miles is at work and it’s impossible to know what to do with that.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13874521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.gif\" alt=\"\" width=\"436\" height=\"327\">\u003c/p>\n\u003cp>When Miles won’t facilitate a meeting—or come clean to Madeline about the music he’s been making Edgar write for her (not cool, Miles)—Edgar starts having very high-pitched tantrums, using his controls over the house. He breaks everything electrical, he keeps the phone “busy” when Madeline tries to call, and he somehow (this part is very unclear) puts blocks on all of Miles’ credit cards \u003cem>and\u003c/em> checkbooks. Every time Miles tries to unplug or break Edgar, Edgar only gets more defiant. (“Don’t ever touch me again!” the computer screams at one point.)\u003c/p>\n\u003cp>In the grand finale, Miles must figure out how to continue his love affair with Madeline without Edgar ruining his life. I won’t spoil how that whole thing turns out, because it’s less predictable—and more heartfelt—than I expected.\u003c/p>\n\u003cfigure id=\"attachment_13874525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.Cello_-800x616.jpg\" alt=\"Virginia Madsen in 1984's 'Electric Dreams.'\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-768x591.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virginia Madsen in 1984’s ‘Electric Dreams.’\u003c/figcaption>\u003c/figure>\n\u003cp>Like other ’80s flicks that took a stab at predicting tech advances of the future (see also: \u003cem>Back to the Future II\u003c/em>, \u003cem>Robocop\u003c/em>,\u003cem> The Running Man\u003c/em>), \u003cem>Electric Dreams\u003c/em> is equal parts preposterous and perceptive. But as ridiculous as the premise may be (booze makes computers come alive!), it’s undoubtedly impressive that a 1984 movie was able to predict how tech could both facilitate and disrupt human relationships. The film predated internet dating \u003ca href=\"https://swipelife.tinder.com/post/a-brief-history-of-online-dating\" target=\"_blank\" rel=\"noopener noreferrer\">by a decade\u003c/a>, and the Joaquin Phoenix AI romance \u003cem>Her\u003c/em> by 30 years. Yet the filmmakers somehow inherently understood the double-edged sword of letting tech into the most intimate parts of our lives.\u003c/p>\n\u003cp>[aside postid='pop_20463']In an age where \u003ca href=\"https://www.statista.com/topics/2158/online-dating/\" target=\"_blank\" rel=\"noopener noreferrer\">33.9 million\u003c/a> Americans rely on computers to find dates, \u003cem>Electric Dreams\u003c/em> delightfully harks back to a time when tech was deemed entirely at odds with romantic relationships. In some ways, it still might be. For many dating app users, having their romantic lives tangled up with technology can be an unpleasant, \u003ca href=\"https://www.huffpost.com/entry/online-dating-anxiety-dis_b_4388076?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAENM88Fc7Tp8OXWUfip323kNLr_05WiSTQ897bY-exmk_QPChZkGnKKkfc53tQOpfI53cijgMRjdY_t7nYVnquU6-Lp40BkyB3qQccBA4wuenUb8i5Kn8uZtn1RETcC0QRl6qqCwrZ4HbmWBPC5LhSpnUDD3MwMI2ik-_Cq2WPWK\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety-inducing\u003c/a> experience. And some reports now suggest a significant percentage of singles that use tech to meet potential partners dislike the process, but do so because they feel they have \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/the-unbearable-exhaustion-of-dating-apps/505184/\" target=\"_blank\" rel=\"noopener noreferrer\">no other choice\u003c/a>.\u003c/p>\n\u003cp>What’s more, today, even when people do find relationships, modern tech can act—like Edgar—as a wedge between partners. In 2018, Oxford University \u003ca href=\"https://psychcentral.com/blog/4-ways-technology-may-be-ruining-your-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">researchers found\u003c/a> that people who used five or more electronic methods of communication were less satisfied in their romantic relationships.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So this Valentine’s Day, sit down with your boo and/or your laptop and watch this quintessentially Bay Area love story. It’s probable that we need it now more than anyone did in 1984.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the one hand, it’s a story about a desktop computer facilitating a romantic relationship. On the other, it’s a dystopian nightmare about sentient hardware wielding too much power over humanity.\u003c/p>\n\u003cp>As such, 1984’s\u003ca href=\"https://www.imdb.com/title/tt0087197/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Electric Dreams\u003c/em>\u003c/a> is what we in the the belly of the tech beast should all be watching this \u003ca href=\"https://www.kqed.org/arts/13925062/earnest-or-playful-your-valentines-card-has-a-history\">Valentine’s Day\u003c/a>.\u003c/p>\n\u003cp>Based in San Francisco, this strange little romance concerns itself with a love triangle between a nerdy architect (Miles), his cello-playing upstairs neighbor (Madeline) and a home computer who—*cue Whitesnake*—just wants to know what love is. (It’s worth noting that, at one point, the computer discovers that “\u003ca href=\"https://www.youtube.com/watch?v=_ut11U4JupI\" target=\"_blank\" rel=\"noopener noreferrer\">Love is Love\u003c/a>” via the medium of a Culture Club song, decades before that even became an official marriage equality slogan.)\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/Ek08KvgqFGM'\n title='//www.youtube.com/embed/Ek08KvgqFGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story goes like this: Miles is talked into getting a \u003ca href=\"https://en.wikipedia.org/wiki/PalmPilot\" target=\"_blank\" rel=\"noopener noreferrer\">PalmPilot\u003c/a> by a colleague who enthusiastically tells him that there is now “a computer” that is “a 12-month planner-organizer, that tells you the time anywhere in the world, plots your biorhythms (!) and plays ‘Happy Birthday’ on your birthday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swayed by that last thing (no, really), Miles heads to the store to buy one, only to find the tech Filofax he wanted is all sold out. He is subsequently persuaded to buy a home computer by a sales assistant who, faced with Miles declaring “I don’t know anything about computers,” gleefully replies: “Nobody does!” (Oh, 1984.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At home, the computer’s boxy green text informs Miles that it can be used in four capacities: as a games console (it has \u003cem>Pong\u003c/em>!); a phone dialer (woo?) and a controller of his home appliances and front door (which I’m almost positive was \u003ca href=\"https://www.somfy.com.au/Blog/Post/2018-03-07-a-quick-history-of-home-automation\" target=\"_blank\" rel=\"noopener noreferrer\">not a real thing\u003c/a> at the time this was made). One night, the computer starts overheating, so Miles pours champagne all over it in an attempt to cool it down. (Did I mention that \u003cem>Electric Dreams\u003c/em> is also unintentionally hilarious? Because it quite often is.) As a result, the next day, the computer comes alive with human-like consciousness (it’s called Edgar now) and starts mimicking the sounds of Madeline playing cello upstairs.\u003c/p>\n\u003cp>On hearing the sexy synthesized music coming up through the vents, Madeline assumes Miles is wooing her. She’s so blown away by the hot, modern, blurpy sound, she immediately starts dating him. Slowly but surely, as the relationship heats up like a smoking motherboard, Edgar (still a computer) becomes obsessed with Madeline and starts demanding that Miles let him “kiss her” and “touch her.” (It’s implied that this is also related to how many soap operas Edgar watches while Miles is at work and it’s impossible to know what to do with that.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13874521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.gif\" alt=\"\" width=\"436\" height=\"327\">\u003c/p>\n\u003cp>When Miles won’t facilitate a meeting—or come clean to Madeline about the music he’s been making Edgar write for her (not cool, Miles)—Edgar starts having very high-pitched tantrums, using his controls over the house. He breaks everything electrical, he keeps the phone “busy” when Madeline tries to call, and he somehow (this part is very unclear) puts blocks on all of Miles’ credit cards \u003cem>and\u003c/em> checkbooks. Every time Miles tries to unplug or break Edgar, Edgar only gets more defiant. (“Don’t ever touch me again!” the computer screams at one point.)\u003c/p>\n\u003cp>In the grand finale, Miles must figure out how to continue his love affair with Madeline without Edgar ruining his life. I won’t spoil how that whole thing turns out, because it’s less predictable—and more heartfelt—than I expected.\u003c/p>\n\u003cfigure id=\"attachment_13874525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.Cello_-800x616.jpg\" alt=\"Virginia Madsen in 1984's 'Electric Dreams.'\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-768x591.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virginia Madsen in 1984’s ‘Electric Dreams.’\u003c/figcaption>\u003c/figure>\n\u003cp>Like other ’80s flicks that took a stab at predicting tech advances of the future (see also: \u003cem>Back to the Future II\u003c/em>, \u003cem>Robocop\u003c/em>,\u003cem> The Running Man\u003c/em>), \u003cem>Electric Dreams\u003c/em> is equal parts preposterous and perceptive. But as ridiculous as the premise may be (booze makes computers come alive!), it’s undoubtedly impressive that a 1984 movie was able to predict how tech could both facilitate and disrupt human relationships. The film predated internet dating \u003ca href=\"https://swipelife.tinder.com/post/a-brief-history-of-online-dating\" target=\"_blank\" rel=\"noopener noreferrer\">by a decade\u003c/a>, and the Joaquin Phoenix AI romance \u003cem>Her\u003c/em> by 30 years. Yet the filmmakers somehow inherently understood the double-edged sword of letting tech into the most intimate parts of our lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an age where \u003ca href=\"https://www.statista.com/topics/2158/online-dating/\" target=\"_blank\" rel=\"noopener noreferrer\">33.9 million\u003c/a> Americans rely on computers to find dates, \u003cem>Electric Dreams\u003c/em> delightfully harks back to a time when tech was deemed entirely at odds with romantic relationships. In some ways, it still might be. For many dating app users, having their romantic lives tangled up with technology can be an unpleasant, \u003ca href=\"https://www.huffpost.com/entry/online-dating-anxiety-dis_b_4388076?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAENM88Fc7Tp8OXWUfip323kNLr_05WiSTQ897bY-exmk_QPChZkGnKKkfc53tQOpfI53cijgMRjdY_t7nYVnquU6-Lp40BkyB3qQccBA4wuenUb8i5Kn8uZtn1RETcC0QRl6qqCwrZ4HbmWBPC5LhSpnUDD3MwMI2ik-_Cq2WPWK\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety-inducing\u003c/a> experience. And some reports now suggest a significant percentage of singles that use tech to meet potential partners dislike the process, but do so because they feel they have \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/the-unbearable-exhaustion-of-dating-apps/505184/\" target=\"_blank\" rel=\"noopener noreferrer\">no other choice\u003c/a>.\u003c/p>\n\u003cp>What’s more, today, even when people do find relationships, modern tech can act—like Edgar—as a wedge between partners. In 2018, Oxford University \u003ca href=\"https://psychcentral.com/blog/4-ways-technology-may-be-ruining-your-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">researchers found\u003c/a> that people who used five or more electronic methods of communication were less satisfied in their romantic relationships.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So this Valentine’s Day, sit down with your boo and/or your laptop and watch this quintessentially Bay Area love story. It’s probable that we need it now more than anyone did in 1984.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I remember seeing a movie in 2001 and thinking afterward that I’d just watched a \u003cem>Rocky Horror Picture Show\u003c/em> for a new generation. The songs were better, the story more tender, and I knew it would last and last in cult screenings for decades. The film, of course, was \u003cem>Hedwig and the Angry Inch\u003c/em>, which as it turns out, has lasted for nearly 20 years. Since 2001, it’s lived on in midnight screenings, a hit Broadway revival, and in various stagings around the world.\u003c/p>\n\u003cp>But one person has been largely absent from the stage throughout it all: Hedwig co-creator and original star, John Cameron Mitchell. This week, Mitchell comes to the Bay Area for a night called \u003cem>The Origin of Love\u003c/em>, and with his Hedwig co-creator Stephan Trask, he tells stories about the film, sings a handful of its beautiful songs, and brings the spirit of Hedwig to life as only he can. That’s on Saturday, Feb. 29, at Zellerbach Hall in Berkeley.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember seeing a movie in 2001 and thinking afterward that I’d just watched a \u003cem>Rocky Horror Picture Show\u003c/em> for a new generation. The songs were better, the story more tender, and I knew it would last and last in cult screenings for decades. The film, of course, was \u003cem>Hedwig and the Angry Inch\u003c/em>, which as it turns out, has lasted for nearly 20 years. Since 2001, it’s lived on in midnight screenings, a hit Broadway revival, and in various stagings around the world.\u003c/p>\n\u003cp>But one person has been largely absent from the stage throughout it all: Hedwig co-creator and original star, John Cameron Mitchell. This week, Mitchell comes to the Bay Area for a night called \u003cem>The Origin of Love\u003c/em>, and with his Hedwig co-creator Stephan Trask, he tells stories about the film, sings a handful of its beautiful songs, and brings the spirit of Hedwig to life as only he can. That’s on Saturday, Feb. 29, at Zellerbach Hall in Berkeley.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Bay Area has long played host to Hollywood—with our instantly-recognizable landmarks like the Golden Gate Bridge featured in many iconic movies, from \u003cem>Vertigo\u003c/em> to \u003cem>Always Be My Maybe\u003c/em>.\u003c/p>\n\u003cp>As the Academy Awards fast approach this weekend, we’re challenging you: How many of these \u003cem>lesser\u003c/em>-known, more under-the-radar Bay Area film locations can you spot? Take the quiz and find out.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" id=\"quizWidget-474513\" width=\"100%\" height=\"900px\" frameborder=\"0\" border=\"none\" src=\"https://www.qzzr.com/widget/quiz/fi9xdWl6emVzLzQ3NTE3MA\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In the Bay Area, alternative exhibition spaces for experimental film and video have long provided artists of the moving image a sense of community and interdisciplinary collaboration. In the early 1960s, filmmaker Bruce Baillie established Canyon Cinema as a screening series in the wooded East Bay hamlet of Canyon for avant-garde and family fare alike. Canyon filmmakers made inroads with composers at the San Francisco Tape Music Center, and published freewheeling newsletters that evinced a natural rapport with painters and poets. Instead of an indie studio system, Canyon inspired or anticipated other local artist-run organizations central to local developments in abstract, personal, vernacular and queer cinema. \u003c/p>\n\u003cp>Canyon endures as a distributor of 16mm avant-garde film prints, and its programming spinoff, San Francisco Cinematheque, curates the CROSSROADS film festival—this year at the San Francisco Museum of Modern Art. Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, alternative exhibition spaces for experimental film and video have long provided artists of the moving image a sense of community and interdisciplinary collaboration. In the early 1960s, filmmaker Bruce Baillie established Canyon Cinema as a screening series in the wooded East Bay hamlet of Canyon for avant-garde and family fare alike. Canyon filmmakers made inroads with composers at the San Francisco Tape Music Center, and published freewheeling newsletters that evinced a natural rapport with painters and poets. Instead of an indie studio system, Canyon inspired or anticipated other local artist-run organizations central to local developments in abstract, personal, vernacular and queer cinema. \u003c/p>\n\u003cp>Canyon endures as a distributor of 16mm avant-garde film prints, and its programming spinoff, San Francisco Cinematheque, curates the CROSSROADS film festival—this year at the San Francisco Museum of Modern Art. Artists Television Access on Valencia Street is another visible example of its legacy. Like other noncommercial art forms, however, rising cost of living seriously threatens the scene: Eviction last year \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\">ended Black Hole\u003c/a>, an Oakland screening series that carried forward Canyon’s anti-institutional origins, but not before spawning the Light Field film festival. Challenges aside, the Bay Area remains a destination for filmmakers “ill at ease with cinema as entertainment but rather fondly fixated on the apparatus, the alchemy of light,” as curator Steve Seid described local postwar celluloid artists in the 2010 book \u003cem>Radical Light\u003c/em>. \u003c/p>\n\u003cp>Now, a renovated Victorian below Interstate 880 near Oakland’s Jack London District promises a sustainable, brick-and-mortar refuge for a community rooted in homespun exhibitions and collaborative intimacy. Gilbert Guerrero and Kathleen Quillian, founders of the \u003ca href=\"http://shapeshifterscinema.com/\">Shapeshifters\u003c/a> series at Temescal Arts Center (TAC), quietly opened the 1,200-square-foot space at 567 5th Street last year as a 40-seat microcinema, and they’re building an on-site nanobrewery with plans for a small taproom to subsidize film programming. Guerrero, an award-winning homebrewer, described the model as a response to diminishing grants funding for small arts organizations. “Shapeshifters has been a series,” he said. “We want this to be an institution.”\u003c/p>\n\u003cfigure id=\"attachment_13874351\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/2.jpg\" alt=\"The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/2-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 40-seat microcinema will accommodate various projector configurations for experimental film screenings. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded in 2012 as a free monthly event, Shapeshifters showcases “expanded cinema,” film generally involving live performance, for instance multi-projector work or sound-image collaboration. “It was at capacity almost immediately,” said TAC director and curator Leyya Tawil. Steve Polta, filmmaker and director of the \u003ca href=\"http://www.sfcinematheque.org/\">San Francisco Cinematheque\u003c/a>, called Shapeshifters a “space to workshop and experiment,” noting the evolution in programming fixtures such as Kit Young and Lori Varga. Other artists who’ve been featured in the series include Other Cinema founder Craig Baldwin, Sofía Córdova with Las Sucias, Greg Pope with Voicehandler, Kerry Laitala, Oracle Plus, Tommy Becker, Suki O’Kane and the late Paul Clipson. \u003c/p>\n\u003cp>Shapeshifters Cinema and Brewery will house Shapeshifters programming and events brought by other curators, filling a deep need for film exhibition space in Oakland. According to Polta, half of San Francisco Cinematheque attendees live in the East Bay. “So there’s a filmmaker community and also an audience community,” he said. And the microcinema is small and nimble enough for esoteric or technically-challenging work. For example, Polta hopes to bring Bruce Elder. The Canadian filmmaker’s shorter pieces run upwards of three hours, making them cost-prohibitive to show at many rental venues. As the head of a nonprofit, Polta also said he understands Shapeshifters’ transition to earned income: “Less grants and more competition.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guerrero and Quillian met some 20 years ago as volunteers at Artists Television Access, where Guerrero is now on the board of directors, and founded Shapeshifters at first at the now-defunct Arbor cafe as a hub for the experimental film community closer to their home in Oakland. “One day I brought a chest of Tecate and thought, ‘I have way better beer at home,’” Guerrero said. He started Temescal Homebrewing in 2013, and in 2018 won first prize in the World Cup of Beer competition for his Synesthesia Pale Ale. A few years ago he took a small business course while considering launching a brewery, and then thought to combine the enterprise with Shapeshifters. Guerrero and Quillian signed a five-year lease on 567 5th St. in late 2018.\u003c/p>\n\u003cfigure id=\"attachment_13874353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/use-4.jpg\" alt=\"Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13874353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/use-4-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kathleen Quillian (L) and Gilbert Guerrero (R) are fundraising to complete construction on Shapeshifters Cinema and Brewery. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visitors enter the space, which looks residential from the street, through what Guerrero and Quillian envision as a small taproom with regular evening hours, and then proceed to a venue already outfitted with a large screen and dozens of salvaged church chairs. The seats are on rearrangeable wooden bases, and an additional screen is planned to accommodate various projector configurations. Guerrero, a homebrewing workshop leader in addition to his day job in user-experience design, plans to create the 3.5 barrel “nanobrewery” in the back room, with a fermenter built into a large outdoor deck. Guerrero and Quillian have spent more than $100,000 on permitting and other pre-construction costs, and are currently \u003ca href=\"https://www.indiegogo.com/projects/shapeshifters-cinema-and-brewery#/\">raising\u003c/a> $30,000 on Indiegogo. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Shapeshifters programming in the space is ongoing: A party and screening in association with Canyon Cinema for Shapeshifters “members,” a new category of ongoing financial supporters of the project, takes place on Saturday, Feb. 15, followed by a free presentation of Tommy Becker’s visual concept album \u003cem>Emotions in Metal\u003c/em> on Saturday, Mar. 14. Black Hole founder Tooth, who presented drawings and his film \u003cem>Broken Symmetry\u003c/em> at the space last year, and who now lives in New York, described Shapeshifters as a “luminous bright spot on the continuum of community-based, noncommercial artistic traditions.” He continued, “[It’s] one of the things that gives me hope that the Bay Area will weather the storm it finds itself in.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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