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"content": "\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \u003c/p>\n\u003cp>https://youtu.be/dSBsNeYqh-k\u003c/p>\n\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the Universal classic monsters—Dracula, Frankenstein, The Wolf Man, The Mummy, et al.—The Invisible Man is by far the most destructive, the most psychotic, and, not coincidentally, the most recognizably human of them all. (As played by Claude Rains, he’s also the wittiest.) When a man doesn’t have to look at himself in the mirror, he divorces himself from the moral accountability that curbs his worst instincts. Arrogance and contempt are his defining character traits, and invisibility has the effect of weaponizing them, because his scientific genius has both isolated him from other people and heightened his superiority complex. \u003c/p>\n\u003cp>With his ingenious updating of \u003cem>The Invisible Man\u003c/em>, writer-director Leigh Whannell changes perspective from the mad scientist to the terrified victim he’s stalking, which effectively turns the film into \u003cem>Gaslight\u003c/em> with a horror twist. And with an actress of Elisabeth Moss’ caliber in the lead role, the film has a psychological realism that’s unusual for the genre, with Moss playing a woman who’s withstanding a form of domestic abuse that may have a supernatural component, but feels sickeningly familiar in many respects. Invisibility has the effect of elevating a person’s worst instincts, so it follows that the manipulation and torment she experiences is just a more extreme version of common behaviors. \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/dSBsNeYqh-k'\n title='//www.youtube.com/embed/dSBsNeYqh-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The brilliant opening sequence underlines this theme by removing all science fiction from the equation. In the middle of the night, Cecelia (Moss) slips away from the bed she shares with her scientist husband Adrian (Oliver Jackson-Cohen) and carries out a plan to leave him for good. There are obstacles to the plan, like the lonely cliffside location of their house and the high-tech security he’s installed as much to keep her in as to keep intruders out. But at this point in the film, Adrian is still a visible menace and Cecelia has to dash out into the night to escape him, as if this was an ordinary case of domestic battery. \u003c/p>\n\u003cp>Except it’s not remotely ordinary. Cecelia has her sister Emily (Harriet Dyer) drop her off at the house of an old friend, James (Aldis Hodge), a well-built policeman who offers her protection and allows her to bunk with his daughter (Storm Reid). Cecelia can hardly bring herself to leave the house until she gets word from Emily that Adrian has committed suicide and that she’s due for a multi-million dollar payoff from his brother (Michael Dorman), a lawyer who’s managing his sizable estate. Yet she cannot shake the feeling that Adrian is still present, due to a series of events that are minor at first—a grease fire in the kitchen, a misplaced set of plans—but soon turn violent. And it always looks like she’s responsible: Who else could have done these awful things? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whannell came to Hollywood as a writer partner to director James Wan, a fellow Australian, and the two hit it big with the original \u003cem>Saw\u003c/em> movie, \u003cem>Dead Silence\u003c/em>, and the \u003cem>Insidious\u003c/em> franchise, but as Wan graduated to big-budget affairs like \u003cem>The Conjuring\u003c/em>, \u003cem>Furious 7\u003c/em>, and \u003cem>Aquaman\u003c/em>, Whannel has stayed in the genre trenches. The third \u003cem>Insidious\u003c/em> film was his directorial debut, but he made a huge leap with \u003cem>Upgrade\u003c/em>, a gripping low-budget thriller that suggested David Cronenberg, \u003cem>The Matrix\u003c/em>, Ozploitation, and Hong Kong action cinema all rolled into one. \u003cem>The Invisible Man\u003c/em> has the same pulp qualities of his other work, but with a more sophisticated deployment of effects, with a lot of patient scene-building and an active, insinuating camera. \u003c/p>\n\u003cp>As Cecelia gets pushed to the brink of madness—as much by not be believed as being stalked—Whannell gives the suspense set pieces plenty of room to breathe and take on a paranoid flavor. Moss and the camera are co-conspirators in horror: She imagines Adrian watching her silently from some empty corner of a room and the camera seems to affirm her worst fears, suggesting a presence through odd angles and pans across the space. Where another actor might look foolish swatting and wrestling thin air, Moss sells it as part of the overall choreography between an immensely powerful, destructive husband and a wife struggling to leverage control over a desperate situation. \u003c/p>\n\u003cp>Whannell hasn’t sorted through some of the stickier elements of the plot—the film substitutes horror logic for logic-logic—and \u003cem>The Invisible Man \u003c/em>can occasionally feel like a dressed-up version of ’90s domestic violence thrillers like \u003cem>Sleeping with the Enemy\u003c/em> or \u003cem>Unlawful Entry\u003c/em>. Yet with Universal trying and failure to revivify the monsters in its vault with stinkers like \u003cem>The Mummy\u003c/em> and \u003cem>Dracula Untold\u003c/em>, Whannell has succeeded by deemphasizing blockbuster effects and engaging with an old monster in a new way. He’s created an invisible man for 2020 while still embracing the foundational terrors of 1933.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"http://npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Local filmmaker Molly Stuart’s character-driven feature debut, \u003cem>Objector\u003c/em>, like most documentaries, is an act of commitment, optimism and resistance. Stuart’s doggedness and sacrifice, though, pale next to that of her subject. \u003cem>Objector\u003c/em>, screening Sunday afternoon, March 1 in the Jewish Film Institute’s annual weekend \u003ca href=\"https://jfi.org/year-round/winterfest-2020\" rel=\"noopener noreferrer\" target=\"_blank\">WinterFest\u003c/a> (Feb. 29–March 1 at the Vogue), traces the personal journey and public criticism of Israeli teenager Atalya Ben-Abba, who challenges her family’s expectations and her society’s norms by declining mandatory military service.\u003c/p>\n\u003cp>The JFI, whose primary event is the summer San Francisco Jewish Film Festival, is one of a handful of Bay Area film titans who you might have noticed present out-of-season mini-bashes. The Silent Film Festival is another, and the Mill Valley Film Festival initiated an annual springtime documentary fest a few years ago. SFFILM, in addition to the SFFILM Festival, has for many years presented contemporary surveys of national cinemas in the fall.\u003c/p>\n\u003cp>Good movies are released year-round, of course, and the best justification for off-season expansion is that some films demand to be seen now rather than later. \u003cem>Objector\u003c/em> is Exhibit A—if, that is, one believes Netanyahu (and Trump) have an iota of interest in peace. If you don’t, \u003cem>Objector\u003c/em> may seem less urgent, and Atalya’s high-stakes act of conscience more quixotic than inspiring.\u003c/p>\n\u003cp>https://vimeo.com/330097421\u003c/p>\n\u003cp>The WinterFest lineup is dominated by nonfiction, which feels like something of a public service at the present time. You can tell by the title if you want to see \u003cem>Oliver Sacks: His Own Life\u003c/em>, Ric Burns’ behind-the-scenes portrait, and \u003cem>Bully, Coward, Victim. The Story of Roy Cohn\u003c/em>, made for HBO by Ethel and Julius Rosenberg’s granddaughter, Ivy Meeropol.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dramatizing real events in a narrative film is a high-wire proposition, one that writer-director Yaron Zilberman pulls off flawlessly in \u003cem>Incitement\u003c/em>. This mesmerizing movie, which won Israel’s top awards and was its official submission for the recent Oscars, follows observant Jewish law student Yigal Amir (Yehuda Nahari in a simultaneously appealing and repellent performance) as he gradually, inexorably becomes more radicalized by right-wing rhetoric and leaders. The camera is practically on Amir’s shoulder all the way until the moment he shoots Prime Minister Yitzhak Rabin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you can only see one selection at WinterFest, and you are remotely a fan of nuanced European films, do not miss the understated Hungarian drama \u003cem>Those Who Remained\u003c/em>. Barnabás Tóth’s tale of the unlikely friendship between a resentful teenager and a doctor who’s a shell of his former self—both of whom lost their families at the hands of the Nazis—is sensitive, subtle and profound. \u003cem>Those Who Remained\u003c/em> will open in the spring, but it’s well worth seeing now rather than later. One discerns in it the spirit of resistance, at the present time.\u003c/p>\n\n",
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"content": "\u003cp>The Band generated mythic status from the start. Crashing on the scene as Bob Dylan’s anonymous-but-not-for-long backup band on his controversial and thrilling electrified tours of 1965-66, the group emerged fully formed, capable of both intense and experimentalist noise and tight, basic rock and roll. \u003c/p>\n\u003cp>The Band’s first album, \u003cem>Music From Big Pink\u003c/em> (1968), was embraced by musicians and critics and seen as the harbinger of a new kind of post-psychedelic roots music. That album and their second, \u003cem>The Band\u003c/em> (1969), were not big sellers, but gained huge respect from critics and musicians as the group built up a passionate fan following. In 1975, critic Greil Marcus described them in \u003cem>Mystery Train: Images of America in Rock and Roll \u003c/em>as “committed to the very idea of America: complicated, dangerous, and alive. Their music gave us a sure sense that the country was richer than we had guessed; that it has possibilities we were only beginning to perceive.” \u003c/p>\n\u003cp>[aside postID='arts_13841271' label='More Dylan']\u003c/p>\n\u003cp>That symbolic weight was the core of \u003cem>The Last Waltz \u003c/em>(1978), Martin Scorsese’s loving documentary capturing the group’s final concert in 1976. Scorsese’s film framed the project as more Robertson’s band than interdependent whole — which all became a bit much for drummer Levon Helm who, in his 1993 book, \u003cem>This Wheel’s on Fire\u003c/em>, blamed Robertson for its breakup and accused him of taking credit for songs that should have been shared. Helm \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/19/150878648/levon-helm-drummer-and-singer-in-the-band-dies\">died\u003c/a> in 2012; bassist Rick Danko in 1999; and pianist Richard Manuel committed suicide in 1986. Robertson and organist Garth Hudson are the only surviving members.\u003c/p>\n\u003cp>A new documentary, \u003ca href=\"https://www.oncewerebrothers.com/\">\u003cem>Once Were Brothers: Robbie Robertson and the Band\u003c/em>\u003c/a>, directed by Daniel Roher, is a warm, poignant take on The Band’s story — again, as the subtitle suggests, from Robertson’s point of view. It often feels like a direct response to Helm’s version of the story; in extensive interviews, Robertson heaps praise on his bandmates and reminisces wistfully about their best years together. Accompanied by beautiful photos of recording sessions and Big Pink, the group’s house in Woodstock, New York, the film is nostalgic and elegiac, and adds to the sense that the recording of their first two albums was a musician’s utopia — deeply collaborative, done on their own terms. There are the usual rock documentary talking heads — with the likes of Eric Clapton, Bruce Springsteen and Van Morrison appearing — as well as archival interview clips from The Band’s members. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gems here are the tales of Dominique Bourgeois, Robertson’s ex-wife, a French-Canadian journalist who met him in Paris while on tour with Dylan in 1966, and who then lived with him during the making of The Band’s classic records. It’s \u003cem>still\u003c/em> rare to see women represented as essential to the rock scene of that era, and Dominique Robertson’s contributions recenter the Big Pink experience around relationships and place, rather than solely music. \u003c/p>\n\u003cp>The film’s most significant contribution to the group’s overall legacy is its extensive coverage of the earliest adventures of The Band, when they were still The Hawks and backing up the great rock wild-man Ronnie Hawkins in clubs around Toronto and on tours through America. Plenty of fresh photos and a television performance from those years help add detail and texture to a formative period for rock and roll, the pre-Beatles ’60s, that’s often mischaracterized as lacking grit. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Once Were Brothers \u003c/em>presents that era as historically on par with any show The Band performed with Dylan — which, in the end, might be its most significant contribution. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Once+Were+Brothers%2C%27+The+Band%27s+Earliest+Years+Shine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The latest adaptation of Jane Austen’s \u003cem>Emma \u003c/em>is as handsome, clever and rich as its famous heroine—and I mean “rich” in the caloric sense, as well. I wanted to snack on every pastel-hued surface of Kave Quinn’s production design, which suggests nothing less than a frosted cupcake come to life—a feast of lace bonnets and high collars, gilded frames and glass chandeliers.\u003c/p>\n\u003cp>Happily, all this decorative excess serves a purpose. This is the first feature from the photographer and music-video director Autumn de Wilde, and while she has an obvious eye for beauty, she has an equally sharp eye for the absurd. There’s a touch of \u003ca href=\"https://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Anderson\u003c/a> archness to her aesthetic, the way her camera both flatters and mocks the cavernous drawing rooms and sunny meadows of the 19th-century English village of Highbury. De Wilde knows that something as simple as a symmetrically framed shot of her characters can serve as a silent punchline. Her style is an ideal marriage of visual extravagance and satirical distance.\u003c/p>\n\u003cp>Speaking of ideal marriages: Emma Woodhouse, the 21-year-old queen bee of Highbury, remains as irrepressible a matchmaker as ever. Anya Taylor-Joy, the actress with the piercing gaze who came to prominence in horror movies like \u003ca href=\"https://www.npr.org/2016/02/18/467070428/a-banished-family-fights-its-demons-in-a-puritanical-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Witch\u003c/em>\u003c/a>, plays her as a somewhat chillier, more aloof heroine than, say, Gwyneth Paltrow did in 1996. But if anything, that only makes it all the more moving to see Emma’s porcelain-like facade crack as she realizes that her instincts as a judge of character were not as shrewd as she thought.\u003c/p>\n\u003cp>Fortunately, her longtime family friend Mr. Knightley is there to scold and correct her at every turn. The actor and musician Johnny Flynn, so memorable in the psychological thriller \u003ca href=\"https://www.npr.org/2018/05/10/609756122/in-the-nerve-wracking-thriller-beast-a-dark-beauty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beast\u003c/em>\u003c/a>, brings a scruffy rock-star edge to the role of this impeccably well-mannered gentleman. The two of them spar furiously over the matter of Emma’s friend Harriet Smith, whom she’s trying to match up with the local vicar, Mr. Elton — a very funny Josh O’Connor, whom you may recognize as Prince Charles on \u003cem>The Crown\u003c/em>. But Emma’s plans have a way of backfiring: Too late she realizes that the foolish Mr. Elton has fallen in love with her, not Harriet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsOwj0PR5Sk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The late English mystery writer \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\" rel=\"noopener noreferrer\">P.D. James\u003c/a> once wrote an essay championing \u003cem>Emma \u003c/em>as not just a great piece of literature but also a great detective story—a series of deceptions and misunderstandings so cunningly crafted that both Emma and the reader are led up the garden path. By the end, order is happily restored and the truth is shown to have been hiding in plain sight, as Emma realizes how badly she misjudged everyone’s romantic motivations, including her own.\u003c/p>\n\u003cp>If you’ve read the book or seen an earlier adaptation, you won’t be surprised by any of these revelations. The script, by the Booker Prize-winning novelist Eleanor Catton, is fairly faithful to the story and no less satisfying for it. This Emma isn’t an audacious reinterpretation like \u003ca href=\"https://www.npr.org/2017/11/16/564579012/greta-gerwig-explores-mother-daughter-love-and-angst-in-lady-bird\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’\u003c/a>s \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took significant liberties with a similarly beloved novel.\u003c/p>\n\u003cp>Okay, so some Austen purists might take issue with the early shot of Mr. Knightley’s naked backside as a servant helps him dress, or a later scene when Emma briefly lifts her skirt to warm her rear end by the fireplace. But I liked these moments of earthy humor. It’s de Wilde’s way of puncturing her characters’ pretensions, as if to remind us that they’re flesh-and-blood human beings beneath all that stately diction and period finery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the effervescent comedy of the movie’s first half, the second is basically one emotional knockout punch after another, aided by a musical score that deftly balances whimsy and melancholy. It helps that de Wilde’s actors are so good at finding fresh nuances even in this timeless material. I loved every hilarious moment of Miranda Hart’s performance as Miss Bates, the village chatterbox whose stories bore Emma to no end—but who turns out to have the biggest heart in Highbury. Mia Goth is especially lovely as the naive, eager-to-please Harriet. And it should come as no surprise that the great Bill Nighy steals his every scene as Emma’s endearing hypochondriac of a father. He’s a perfect mascot for the movie—impeccably dressed, knowingly ridiculous and awfully hard to resist.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Emma%27+Is+A+Frosted+Cupcake+Come+To+Life+%28In+A+Good+Way%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest adaptation of Jane Austen’s \u003cem>Emma \u003c/em>is as handsome, clever and rich as its famous heroine—and I mean “rich” in the caloric sense, as well. I wanted to snack on every pastel-hued surface of Kave Quinn’s production design, which suggests nothing less than a frosted cupcake come to life—a feast of lace bonnets and high collars, gilded frames and glass chandeliers.\u003c/p>\n\u003cp>Happily, all this decorative excess serves a purpose. This is the first feature from the photographer and music-video director Autumn de Wilde, and while she has an obvious eye for beauty, she has an equally sharp eye for the absurd. There’s a touch of \u003ca href=\"https://www.npr.org/2014/03/12/289423863/wes-anderson-we-made-a-pastiche-of-eastern-europes-greatest-hits\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Anderson\u003c/a> archness to her aesthetic, the way her camera both flatters and mocks the cavernous drawing rooms and sunny meadows of the 19th-century English village of Highbury. De Wilde knows that something as simple as a symmetrically framed shot of her characters can serve as a silent punchline. Her style is an ideal marriage of visual extravagance and satirical distance.\u003c/p>\n\u003cp>Speaking of ideal marriages: Emma Woodhouse, the 21-year-old queen bee of Highbury, remains as irrepressible a matchmaker as ever. Anya Taylor-Joy, the actress with the piercing gaze who came to prominence in horror movies like \u003ca href=\"https://www.npr.org/2016/02/18/467070428/a-banished-family-fights-its-demons-in-a-puritanical-age\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Witch\u003c/em>\u003c/a>, plays her as a somewhat chillier, more aloof heroine than, say, Gwyneth Paltrow did in 1996. But if anything, that only makes it all the more moving to see Emma’s porcelain-like facade crack as she realizes that her instincts as a judge of character were not as shrewd as she thought.\u003c/p>\n\u003cp>Fortunately, her longtime family friend Mr. Knightley is there to scold and correct her at every turn. The actor and musician Johnny Flynn, so memorable in the psychological thriller \u003ca href=\"https://www.npr.org/2018/05/10/609756122/in-the-nerve-wracking-thriller-beast-a-dark-beauty\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Beast\u003c/em>\u003c/a>, brings a scruffy rock-star edge to the role of this impeccably well-mannered gentleman. The two of them spar furiously over the matter of Emma’s friend Harriet Smith, whom she’s trying to match up with the local vicar, Mr. Elton — a very funny Josh O’Connor, whom you may recognize as Prince Charles on \u003cem>The Crown\u003c/em>. But Emma’s plans have a way of backfiring: Too late she realizes that the foolish Mr. Elton has fallen in love with her, not Harriet.\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/qsOwj0PR5Sk'\n title='//www.youtube.com/embed/qsOwj0PR5Sk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The late English mystery writer \u003ca href=\"https://www.npr.org/2014/12/01/367766895/p-d-james-believed-mysteries-were-made-of-clues-not-coincidences\" target=\"_blank\" rel=\"noopener noreferrer\">P.D. James\u003c/a> once wrote an essay championing \u003cem>Emma \u003c/em>as not just a great piece of literature but also a great detective story—a series of deceptions and misunderstandings so cunningly crafted that both Emma and the reader are led up the garden path. By the end, order is happily restored and the truth is shown to have been hiding in plain sight, as Emma realizes how badly she misjudged everyone’s romantic motivations, including her own.\u003c/p>\n\u003cp>If you’ve read the book or seen an earlier adaptation, you won’t be surprised by any of these revelations. The script, by the Booker Prize-winning novelist Eleanor Catton, is fairly faithful to the story and no less satisfying for it. This Emma isn’t an audacious reinterpretation like \u003ca href=\"https://www.npr.org/2017/11/16/564579012/greta-gerwig-explores-mother-daughter-love-and-angst-in-lady-bird\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’\u003c/a>s \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem>, \u003c/em>which took significant liberties with a similarly beloved novel.\u003c/p>\n\u003cp>Okay, so some Austen purists might take issue with the early shot of Mr. Knightley’s naked backside as a servant helps him dress, or a later scene when Emma briefly lifts her skirt to warm her rear end by the fireplace. But I liked these moments of earthy humor. It’s de Wilde’s way of puncturing her characters’ pretensions, as if to remind us that they’re flesh-and-blood human beings beneath all that stately diction and period finery.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the effervescent comedy of the movie’s first half, the second is basically one emotional knockout punch after another, aided by a musical score that deftly balances whimsy and melancholy. It helps that de Wilde’s actors are so good at finding fresh nuances even in this timeless material. I loved every hilarious moment of Miranda Hart’s performance as Miss Bates, the village chatterbox whose stories bore Emma to no end—but who turns out to have the biggest heart in Highbury. Mia Goth is especially lovely as the naive, eager-to-please Harriet. And it should come as no surprise that the great Bill Nighy steals his every scene as Emma’s endearing hypochondriac of a father. He’s a perfect mascot for the movie—impeccably dressed, knowingly ridiculous and awfully hard to resist.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+%27Emma%27+Is+A+Frosted+Cupcake+Come+To+Life+%28In+A+Good+Way%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Revisiting 'Tiptoes'—and Gary Oldman's Bizarre Starring Role as a Little Person",
"headTitle": "Revisiting ‘Tiptoes’—and Gary Oldman’s Bizarre Starring Role as a Little Person | KQED",
"content": "\u003cp>In an interview about his movie, Gary Oldman once said: “It is a glorious part. A dream of a role. But it wasn’t an immediate ‘yes’. I just wondered how I would meet the physical challenge of it. I happen to think it’s an incredible … bench mark in the field of make-up.”\u003c/p>\n\u003cp>Oldman was, of course, talking about his Academy Award-winning transformation into Winston Churchill in \u003cem>Darkest Hour. \u003c/em>But various corners of the internet have since \u003ca href=\"https://www.youtube.com/watch?v=A4w6-XXXv90\" target=\"_blank\" rel=\"noopener noreferrer\">taken his words\u003c/a> and applied them instead to his role in 2004’s \u003cem>Tiptoes\u003c/em>—a relentless hellride of a movie in which he plays a little person. (Try not to think on that title too hard—it gets worse the longer you do.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O3qGGk5ymQ4\u003c/p>\n\u003cp>“He was basically on his knees,” co-star \u003ca href=\"https://www.yahoo.com/entertainment/the-incredible-story-behind-tiptoes-the-movie-in-121940150.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Beckinsale later explained\u003c/a> to MTV, “with a prosthetic part of his head and face and a hump and different kinds of harnesses to strap his arms back to make them short, and special clothes. They had various different effects, like if he was sitting in a chair, his legs would actually be inside the chair and he’d have these little fake legs sticking out on top.”\u003c/p>\n\u003cp>She’s not joking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Tiptoes\u003c/em>, at first glance, appears to be a fairly typical romantic comedy: Matthew McConaughey plays Steven, a regular-guy firefighter who’s in a relationship with a tattooed painter named Carol (played by Beckinsale). Steven is secretive about his background until Carol gets a surprise visitor one day who tells her that Steven is the only one in his family who wasn’t born with dwarfism. The news is an especially big shock since she’s just found out she is pregnant.\u003c/p>\n\u003cfigure id=\"attachment_13874946\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/v1.jpg\" alt=\"Patricia Arquette and Peter Dinklage in 'Tiptoes.'\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1-160x160.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Arquette and Peter Dinklage in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>Oldman plays Steven’s twin brother Rolfe (with an American accent that is not great), and Peter Dinklage appears as his pal Maurice, a French Marxist (with an accent that’s not… \u003cem>bien\u003c/em>). Maurice is dating Lucy, a hitchhiker with white-lady cornrows played by Patricia Arquette. (It’s worth noting that Arquette and Dinklage play the only vaguely likable characters in this entire thing.)\u003c/p>\n\u003cp>It remains a mystery how this movie got a cast of this stature, but one gets the sense that, once upon a time, \u003cem>Tiptoes\u003c/em> was trying to be important. The ghosts of those good intentions emerge occasionally in scenes that aim to prove that little people are just like everyone else—opinionated, sexually active, well-rounded—except for when they’re forced to deal with casual abuse from strangers and physical ailments related to their size. Unfortunately, because the movie ultimately can’t figure out what it wants to be—a romance, slapstick comedy or searing drama—salient points tend to get lost.\u003c/p>\n\u003cp>It doesn’t help that the script is self-conscious, PSA-level clunky and grossly \u003ca href=\"https://dwarfparents.com/chance-having-dwarf-child\" target=\"_blank\" rel=\"noopener noreferrer\">over-estimates the likelihood\u003c/a> of two average sized people producing a child with dwarfism. It doesn’t help that the ending is completely out of left field and patronizing but, worst of all, the film is prone to presenting little people as caricatures—the slutty blond, the angry communist and the wholesome family man are all here.\u003c/p>\n\u003cp>If there’s one consistent element in\u003cem> Tiptoes,\u003c/em> it’s in just how offensive Oldman’s physical appearance is. He’s given a walking stick as a ploy to explain the awkward movements caused by him “walking” on his knees. His prosthetic hump moves and changes size. And every time an actual little person is used as his body double, it shines a spotlight on just how different Oldman’s proportions are. Worst of all, those fake legs Beckinsale mentioned look like limp foam appendages ripped off a cheap Halloween costume.\u003c/p>\n\u003cp>In a 2012 \u003cem>New York Times\u003c/em> interview, Dinklage expressed mixed feelings about the film. “It was sort of an amazing idea for a movie, but the result [of the final cut] was what we were fighting against—the cutesiness of little people,” he said. “There was some flak. ‘Why would you put Gary Oldman on his knees? That’s almost like blackface.’ And I have my own opinions about political correctness, but I was just like, ‘It’s Gary Oldman. He can do whatever he wants.'”\u003c/p>\n\u003cp>(Just because you can, doesn’t mean you should.)\u003c/p>\n\u003cfigure id=\"attachment_13874900\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/image-800x400.jpg\" alt=\"Gary Oldman and Kate Beckinsale in 'Tiptoes.'\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman and Kate Beckinsale in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tiptoes\u003c/em> is just one in an extremely long line of movies that have inflicted indignities on little people. Exploitation was rife in the early days of Hollywood—the actors who played Munchkins in 1939’s \u003cem>Wizard of Oz\u003c/em>, for example, were paid \u003ca href=\"https://www.hollywoodreporter.com/features/little-people-actors-actresses-low-pay-degrading-jobs-tragedy-922261\" target=\"_blank\" rel=\"noopener noreferrer\">less than half\u003c/a> of what the dog that played Toto made per week. Plus, roles are—and have always been—very limited. Even after becoming a household name as Mini-Me in \u003cem>Austin Powers: The Spy Who Shagged Me, \u003c/em>Verne Troyer was recently reduced to starring in \u003ca href=\"https://www.youtube.com/watch?v=9ywANMZs4hY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gnome Alone\u003c/em>\u003c/a>, a low budget horror movie. To make matters worse, available parts for little people are often limited to that of evil creatures or magical beings. (See: Griphook in \u003cem>Harry Potter, \u003c/em>or the Oompa Loompas in \u003cem>Charlie and the Chocolate Factory.\u003c/em>)\u003c/p>\n\u003cp>Ali Chapman, an actress, entertainer and cast member of \u003ca href=\"https://www.hulu.com/series/little-women-la-545f850c-28e6-4aae-a114-0b971aa3b715?&cmp=7958&utm_source=google&utm_medium=cpc&utm_campaign=BM%20Search%20TV%20Shows&utm_term=&ds_rl=1263136&gclid=EAIaIQobChMI-Jzy7s_P5wIVbxitBh1qeAHFEAAYASAAEgK5QfD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women LA\u003c/em>\u003c/a> told \u003cem>The Hollywood Reporter\u003c/em> in 2016: “I mean, I can just be a nurse in a show, or a mom, or a lady walking her dog down the street! Like, do I need to be an elf? Do I need to be a leprechaun?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Tiptoes\u003c/em> did give little actors roles outside of the fantasy realm, it ultimately failed to treat dwarfism with much respect either. Its failure to give the role of Rolfe to someone born with the appropriate stature (\u003cem>Peter Dinklage was right there\u003c/em>!) wasn’t just a major stumbling block, it ultimately turned \u003cem>Tiptoes\u003c/em> into a sideshow—which was the exact opposite of what everyone involved clearly originally wanted. Today, it remains mostly buried, a cult classic and, for obvious reasons, a fairly major embarrassment for everyone involved.\u003c/p>\n\n",
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"excerpt": "Oldman starred alongside Patricia Arquette, Peter Dinklage, Kate Beckinsale and Matthew McConaughey in one of the most embarrassing movies of the last 20 years. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an interview about his movie, Gary Oldman once said: “It is a glorious part. A dream of a role. But it wasn’t an immediate ‘yes’. I just wondered how I would meet the physical challenge of it. I happen to think it’s an incredible … bench mark in the field of make-up.”\u003c/p>\n\u003cp>Oldman was, of course, talking about his Academy Award-winning transformation into Winston Churchill in \u003cem>Darkest Hour. \u003c/em>But various corners of the internet have since \u003ca href=\"https://www.youtube.com/watch?v=A4w6-XXXv90\" target=\"_blank\" rel=\"noopener noreferrer\">taken his words\u003c/a> and applied them instead to his role in 2004’s \u003cem>Tiptoes\u003c/em>—a relentless hellride of a movie in which he plays a little person. (Try not to think on that title too hard—it gets worse the longer you do.)\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/O3qGGk5ymQ4'\n title='//www.youtube.com/embed/O3qGGk5ymQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He was basically on his knees,” co-star \u003ca href=\"https://www.yahoo.com/entertainment/the-incredible-story-behind-tiptoes-the-movie-in-121940150.html\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Beckinsale later explained\u003c/a> to MTV, “with a prosthetic part of his head and face and a hump and different kinds of harnesses to strap his arms back to make them short, and special clothes. They had various different effects, like if he was sitting in a chair, his legs would actually be inside the chair and he’d have these little fake legs sticking out on top.”\u003c/p>\n\u003cp>She’s not joking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tiptoes\u003c/em>, at first glance, appears to be a fairly typical romantic comedy: Matthew McConaughey plays Steven, a regular-guy firefighter who’s in a relationship with a tattooed painter named Carol (played by Beckinsale). Steven is secretive about his background until Carol gets a surprise visitor one day who tells her that Steven is the only one in his family who wasn’t born with dwarfism. The news is an especially big shock since she’s just found out she is pregnant.\u003c/p>\n\u003cfigure id=\"attachment_13874946\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874946\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/v1.jpg\" alt=\"Patricia Arquette and Peter Dinklage in 'Tiptoes.'\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/v1-160x160.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Arquette and Peter Dinklage in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>Oldman plays Steven’s twin brother Rolfe (with an American accent that is not great), and Peter Dinklage appears as his pal Maurice, a French Marxist (with an accent that’s not… \u003cem>bien\u003c/em>). Maurice is dating Lucy, a hitchhiker with white-lady cornrows played by Patricia Arquette. (It’s worth noting that Arquette and Dinklage play the only vaguely likable characters in this entire thing.)\u003c/p>\n\u003cp>It remains a mystery how this movie got a cast of this stature, but one gets the sense that, once upon a time, \u003cem>Tiptoes\u003c/em> was trying to be important. The ghosts of those good intentions emerge occasionally in scenes that aim to prove that little people are just like everyone else—opinionated, sexually active, well-rounded—except for when they’re forced to deal with casual abuse from strangers and physical ailments related to their size. Unfortunately, because the movie ultimately can’t figure out what it wants to be—a romance, slapstick comedy or searing drama—salient points tend to get lost.\u003c/p>\n\u003cp>It doesn’t help that the script is self-conscious, PSA-level clunky and grossly \u003ca href=\"https://dwarfparents.com/chance-having-dwarf-child\" target=\"_blank\" rel=\"noopener noreferrer\">over-estimates the likelihood\u003c/a> of two average sized people producing a child with dwarfism. It doesn’t help that the ending is completely out of left field and patronizing but, worst of all, the film is prone to presenting little people as caricatures—the slutty blond, the angry communist and the wholesome family man are all here.\u003c/p>\n\u003cp>If there’s one consistent element in\u003cem> Tiptoes,\u003c/em> it’s in just how offensive Oldman’s physical appearance is. He’s given a walking stick as a ploy to explain the awkward movements caused by him “walking” on his knees. His prosthetic hump moves and changes size. And every time an actual little person is used as his body double, it shines a spotlight on just how different Oldman’s proportions are. Worst of all, those fake legs Beckinsale mentioned look like limp foam appendages ripped off a cheap Halloween costume.\u003c/p>\n\u003cp>In a 2012 \u003cem>New York Times\u003c/em> interview, Dinklage expressed mixed feelings about the film. “It was sort of an amazing idea for a movie, but the result [of the final cut] was what we were fighting against—the cutesiness of little people,” he said. “There was some flak. ‘Why would you put Gary Oldman on his knees? That’s almost like blackface.’ And I have my own opinions about political correctness, but I was just like, ‘It’s Gary Oldman. He can do whatever he wants.'”\u003c/p>\n\u003cp>(Just because you can, doesn’t mean you should.)\u003c/p>\n\u003cfigure id=\"attachment_13874900\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/image-800x400.jpg\" alt=\"Gary Oldman and Kate Beckinsale in 'Tiptoes.'\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/image.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gary Oldman and Kate Beckinsale in ‘Tiptoes.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Tiptoes\u003c/em> is just one in an extremely long line of movies that have inflicted indignities on little people. Exploitation was rife in the early days of Hollywood—the actors who played Munchkins in 1939’s \u003cem>Wizard of Oz\u003c/em>, for example, were paid \u003ca href=\"https://www.hollywoodreporter.com/features/little-people-actors-actresses-low-pay-degrading-jobs-tragedy-922261\" target=\"_blank\" rel=\"noopener noreferrer\">less than half\u003c/a> of what the dog that played Toto made per week. Plus, roles are—and have always been—very limited. Even after becoming a household name as Mini-Me in \u003cem>Austin Powers: The Spy Who Shagged Me, \u003c/em>Verne Troyer was recently reduced to starring in \u003ca href=\"https://www.youtube.com/watch?v=9ywANMZs4hY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Gnome Alone\u003c/em>\u003c/a>, a low budget horror movie. To make matters worse, available parts for little people are often limited to that of evil creatures or magical beings. (See: Griphook in \u003cem>Harry Potter, \u003c/em>or the Oompa Loompas in \u003cem>Charlie and the Chocolate Factory.\u003c/em>)\u003c/p>\n\u003cp>Ali Chapman, an actress, entertainer and cast member of \u003ca href=\"https://www.hulu.com/series/little-women-la-545f850c-28e6-4aae-a114-0b971aa3b715?&cmp=7958&utm_source=google&utm_medium=cpc&utm_campaign=BM%20Search%20TV%20Shows&utm_term=&ds_rl=1263136&gclid=EAIaIQobChMI-Jzy7s_P5wIVbxitBh1qeAHFEAAYASAAEgK5QfD_BwE&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Women LA\u003c/em>\u003c/a> told \u003cem>The Hollywood Reporter\u003c/em> in 2016: “I mean, I can just be a nurse in a show, or a mom, or a lady walking her dog down the street! Like, do I need to be an elf? Do I need to be a leprechaun?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While \u003cem>Tiptoes\u003c/em> did give little actors roles outside of the fantasy realm, it ultimately failed to treat dwarfism with much respect either. Its failure to give the role of Rolfe to someone born with the appropriate stature (\u003cem>Peter Dinklage was right there\u003c/em>!) wasn’t just a major stumbling block, it ultimately turned \u003cem>Tiptoes\u003c/em> into a sideshow—which was the exact opposite of what everyone involved clearly originally wanted. Today, it remains mostly buried, a cult classic and, for obvious reasons, a fairly major embarrassment for everyone involved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "why-subtle-red-carpet-looks-wont-start-the-revolution",
"title": "Why Subtle Red Carpet Looks Won’t Start the Revolution",
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"content": "\u003cp>When the movie of the year is about class struggle, what are the most effective ways to communicate a socially conscious message in Hollywood? At this year’s Academy Awards, Natalie Portman showed up in a Dior cape with the names of female directors snubbed by the Academy embroidered in the lining as a “subtle” way of honoring her cause. While she was trying to add to an existing conversation about gender inequality in Hollywood, the statement itself didn’t quite land.\u003c/p>\n\u003cp>https://twitter.com/AmyKinLA/status/1226661824994480131\u003c/p>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the movie of the year is about class struggle, what are the most effective ways to communicate a socially conscious message in Hollywood? At this year’s Academy Awards, Natalie Portman showed up in a Dior cape with the names of female directors snubbed by the Academy embroidered in the lining as a “subtle” way of honoring her cause. While she was trying to add to an existing conversation about gender inequality in Hollywood, the statement itself didn’t quite land.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Initially lauded as a tasteful nod to all the women whose work was passed over for best picture, the conversation quickly changed once people turned the spotlight on Portman’s own working history in the film industry. Critics were quick to point out that in her own career, Portman has only worked with a handful of female directors. To those commentators, the embroidered gown was an attention-seeking virtue-signal rather than a sign of solidarity.\u003c/p>\n\u003cp>In this vein, actress Rose McGowan called the dress “\u003ca href=\"https://www.theguardian.com/film/2020/feb/12/rose-mcgowan-natalie-portman-oscars-dress-protest-female-directors\" rel=\"noopener noreferrer\" target=\"_blank\">deeply offensive\u003c/a>.” Portman responded in a statement, saying that her attempts to work with more women throughout her career never came to fruition, which she described as an invisible “ghost history.” McGowan \u003ca href=\"https://www.theguardian.com/film/2020/feb/18/rose-mcgowan-natalie-portman-oscars-dress-protest\" rel=\"noopener noreferrer\" target=\"_blank\">later apologized\u003c/a> for her initial criticism, saying she “lost sight of the bigger picture.”\u003c/p>\n\u003cp>Buried in the past week-and-a-half of breathless coverage about two disagreeing celebrities is the real story: subtle gestures are no match for unsubtle problems. Best picture winner \u003cem>Parasite\u003c/em>, a thriller that was as politically charged as it was entertaining, proved that audiences and critics alike want to see social issues addressed in pop culture.\u003c/p>\n\u003cfigure id=\"attachment_13875186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/parasite-The-Kim-Family-Woo-sik-Choi-Kang-ho-Song-Hye-jin-Jang-So-dam-Park-in-Parasite_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Kim Family (Woo-sik Choi, Kang-ho Song, Hye-jin Jang, So-dam Park) in a still from ‘Parasite.’ \u003ccite>(Courtesy of NEON CJ Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, how effective are political statements at awards ceremonies themselves? The Academy Awards are an anachronistic celebration of wealth, privilege and institutional tradition at a time when income inequality in the United States is the \u003ca href=\"https://markets.businessinsider.com/news/stocks/income-inequality-reached-highest-level-ever-recorded-in-2018-2019-9-1028559996\" rel=\"noopener noreferrer\" target=\"_blank\">highest it’s been in over 50 years\u003c/a>. A \u003ca href=\"https://www.theguardian.com/film/2017/feb/25/oscars-2017-how-much-does-hollywood-biggest-party-cost-earn\" rel=\"noopener noreferrer\" target=\"_blank\">financial report\u003c/a> reveals that $44 million was spent on the 2017 Oscars “and related activities.” That’s not to mention other expenses, like the infamous “goodie bags” \u003ca href=\"https://www.forbes.com/sites/hayleycuccinello/2020/02/01/215000-oscars-2020-gift-bag/#5f8a4163be7d\" rel=\"noopener noreferrer\" target=\"_blank\">estimated\u003c/a> to cost about $255,000 each this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But stars can’t help themselves. In part as a way to direct a portion of those vast resources to something other than self-celebration, actors have occasionally used the visibility of the Oscars as a platform to champion personal causes or make political statements, to varying degrees of success. Joaquin Phoenix talked about climate change and veganism in his best actor \u003ca href=\"https://www.hollywoodreporter.com/news/transcript-joaquin-phoenixs-speech-at-2020-oscars-1278278\" rel=\"noopener noreferrer\" target=\"_blank\">acceptance speech\u003c/a>; Brad Pitt \u003ca href=\"https://oscar.go.com/news/2020/brad-pitt-is-the-2020-oscar-winner-for-actor-in-a-supporting-role\" rel=\"noopener noreferrer\" target=\"_blank\">criticized\u003c/a> the Senate Republicans for not letting John Bolton testify.\u003c/p>\n\u003cp>Politics aren’t only confined to award winners. On the red carpet, stars take stands on myriad issues, where fashion can turn paparazzi shots into powerful images. In solidarity with sexual assault victims at the \u003ca href=\"https://www.vanityfair.com/style/2018/01/golden-globes-2018-red-carpet-times-up\" rel=\"noopener noreferrer\" target=\"_blank\">2018 Golden Globes\u003c/a>, female celebrities rejected the tradition of red-carpet fashion by wearing exclusively black gowns. They turned an event typically centered around scrutinizing women’s bodies and clothing choices into a political statement.\u003c/p>\n\u003cfigure id=\"attachment_13875181\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13875181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/GoldenGlobes2018_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Actor Meryl Streep, activist Ai-jen Poo, actor Natalie Portman, activist Tarana Burke, actor Michelle Williams, actor America Ferrera, actor Jessica Chastain, actor Amy Poehler, and activist Saru Jayaraman attend 19th Annual Post-Golden Globes Party at The Beverly Hilton Hotel on Jan. 7, 2018. \u003ccite>(Photo by Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Bong Joon Ho’s \u003cem>Parasite\u003c/em> brought extra scrutiny to the optics of class and celebrity at this year’s Oscars. The film, about the wealth inequality between two South Korean families, took four categories, including the first best picture awarded to a non-English language film. About the uncomfortable lengths a poor family will go to for a chance at a better life, \u003cem>Parasite\u003c/em> highlights the way money protects people from making morally questionable decisions (by rendering them oblivious to others’ needs). \u003c/p>\n\u003cp>Just as a well-made film doesn’t necessarily undermine its socially conscious message, a flashy designer garment can still speak volumes. Communicating through clothing takes advantage of the scrutiny red carpet outfits typically attract. But the most effective arguments are attention-grabbing, loud and impossible to misunderstand. \u003c/p>\n\u003cp>When Lena Waithe wore a trailing rainbow cape to the “Heavenly Bodies: Fashion at and the Catholic Imagination” Met Gala in 2018, it was a bold statement that resonated with people all over the world. A custom \u003ca href=\"https://www.vogue.com/article/lena-waithe-pride-cape-met-gala-story-behind\" rel=\"noopener noreferrer\" target=\"_blank\">Carolina Herrera\u003c/a> suit isn’t a form of protest accessible to everyone (or anyone, really). But that doesn’t make the photos of a woman defiantly representing her identity in the midst of its complicated relationship with the Catholic church any less powerful. \u003c/p>\n\u003cp>Waithe’s outfit wasn’t merely improved by its message; it was the message. The cohesion of her argument and its visual execution made the outfit a resounding statement. In contrast, Natalie Portman relegated her feminist argument to the edge of a cape. The women directors’ names appeared as a stitched-on afterthought, as though the cause wasn’t worth the dedication of an entire outfit. To many, it seemed like the feminist message was secondary to Portman’s desire to wear a nice dress.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>’s win is not only big because it’s the first non-English language picture, but because it proves great movies can be darkly funny, satirical, dramatic and heartfelt while also dealing in pressing issues of the day. It shows that social critique has a place in Hollywood, and that even if there are occasional missteps, the spotlight is a worthwhile place for continuing important conversations. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Imagine that an art house director created stop-motion animation while on copious amounts of hallucinogens of every nightmare you’ve ever had, then threw some extra-creepy animals in the mix, just because. Now you have some idea of the visceral nature of \u003ca href=\"https://www.imdb.com/name/nm0840905/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Jan Švankmajer\u003c/a>‘s vision of \u003cem>Alice in Wonderland—\u003c/em>but to believe it, you kind of have to see it.\u003c/p>\n\u003cp>Masterminded by the Czech multimedia artist in 1988, this extra-surreal take on the Lewis Carroll classic starts with a taxidermy rabbit cutting itself open with scissors, bleeding sawdust and biting through steel nails. And it only gets more odd from there.\u003c/p>\n\u003cp>Alice’s adventure begins after she follows that teeth-gnashing rabbit up a hill and through a desk drawer. (It’s best not to ask…) Later, when she becomes small, she transforms into the kind of terrifying baby doll last seen in the alternative music videos of the 1990s (see in particular: \u003ca href=\"https://www.youtube.com/watch?v=uU1ANLb4QPY\" target=\"_blank\" rel=\"noopener noreferrer\">Babes in Toyland\u003c/a>.) It is bizarre and compulsive viewing.\u003c/p>\n\u003cp>To explain in detail the excess of imagery, minimal dialogue and overarching sense of echoing otherworldliness present throughout this production would only spoil it. But if you must have a taste, here’s one involving a fish footman, a frog with human eyes and tongue, and a lot of smashed crockery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bUUOXOWXnY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Alamo Drafthouse, this special screening of \u003cem>Alice\u003c/em> is sponsored by Amoeba Music and comes with a drag pre-show from \u003ca href=\"https://www.facebook.com/MediaMeltdownSF\" target=\"_blank\" rel=\"noopener noreferrer\">Media Meltdown\u003c/a>—a group that’s equal parts weird and wonderland. Expect nothing but the unexpected. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine that an art house director created stop-motion animation while on copious amounts of hallucinogens of every nightmare you’ve ever had, then threw some extra-creepy animals in the mix, just because. Now you have some idea of the visceral nature of \u003ca href=\"https://www.imdb.com/name/nm0840905/?ref_=fn_al_nm_1\" target=\"_blank\" rel=\"noopener noreferrer\">Jan Švankmajer\u003c/a>‘s vision of \u003cem>Alice in Wonderland—\u003c/em>but to believe it, you kind of have to see it.\u003c/p>\n\u003cp>Masterminded by the Czech multimedia artist in 1988, this extra-surreal take on the Lewis Carroll classic starts with a taxidermy rabbit cutting itself open with scissors, bleeding sawdust and biting through steel nails. And it only gets more odd from there.\u003c/p>\n\u003cp>Alice’s adventure begins after she follows that teeth-gnashing rabbit up a hill and through a desk drawer. (It’s best not to ask…) Later, when she becomes small, she transforms into the kind of terrifying baby doll last seen in the alternative music videos of the 1990s (see in particular: \u003ca href=\"https://www.youtube.com/watch?v=uU1ANLb4QPY\" target=\"_blank\" rel=\"noopener noreferrer\">Babes in Toyland\u003c/a>.) It is bizarre and compulsive viewing.\u003c/p>\n\u003cp>To explain in detail the excess of imagery, minimal dialogue and overarching sense of echoing otherworldliness present throughout this production would only spoil it. But if you must have a taste, here’s one involving a fish footman, a frog with human eyes and tongue, and a lot of smashed crockery.\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/2bUUOXOWXnY'\n title='//www.youtube.com/embed/2bUUOXOWXnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Alamo Drafthouse, this special screening of \u003cem>Alice\u003c/em> is sponsored by Amoeba Music and comes with a drag pre-show from \u003ca href=\"https://www.facebook.com/MediaMeltdownSF\" target=\"_blank\" rel=\"noopener noreferrer\">Media Meltdown\u003c/a>—a group that’s equal parts weird and wonderland. Expect nothing but the unexpected. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Children are reasonably well served by the major studios, all of whom have staked a claim to the animated-feature gold mine that was once Disney’s exclusive forte. But a child’s relationship to movies can go beyond viewing, no matter how active and engaged that experience may be. The annual \u003ca href=\"http://baicff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area International Children’s Film Fest\u003c/a>, Feb. 22–23 at the Chabot Space & Science Center in Oakland, opens the door for kids to understand how films are made—and provides the hands-on opportunity to create a little magic themselves.\u003c/p>\n\u003cp>BAICFF opens Feb. 20 at Oakland’s Grand Lake with Benh Zeitlin showing and fielding questions about \u003cem>Wendy\u003c/em>, his heroine-driven take on \u003cem>Peter Pan\u003c/em>, before its wide release on Feb. 28. The weekend screening schedule encompasses a range of styles, subjects and lengths, from the Academy Award-winning animated short \u003cem>Hair Love\u003c/em> to Brazilian director Marcos Negrão’s feature-length documentary, \u003cem>Child of Nature\u003c/em>, which introduces us to remarkable kids in Kenya, Syria and other countries who are making a transformational difference.\u003c/p>\n\u003cfigure id=\"attachment_13875050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Child of Nature.’ \u003ccite>(Courtesy of Bay Area International Children's Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmakers will be everywhere at BAICFF, eager to dispense inspiration, tips and courage to future directors. The Walt Disney Family Museum hosts a “Character Design” workshop to develop individual skill sets, and assembles its resident experts and a couple mid-career animators to discuss “The Artist’s Career,” offering guidance to prospective illustrators.\u003c/p>\n\u003cp>Berkeley City College also teams up with BAICFF for hands-on workshops about clay puppet animation, pixilation and foley. The big draw, though, may be Sunday’s “Family Fun Stop-Motion Workshops,” which entice parents and children to collaborate on their own short films. Now \u003cem>that’s\u003c/em> an offer you can’t refuse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Children are reasonably well served by the major studios, all of whom have staked a claim to the animated-feature gold mine that was once Disney’s exclusive forte. But a child’s relationship to movies can go beyond viewing, no matter how active and engaged that experience may be. The annual \u003ca href=\"http://baicff.com\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area International Children’s Film Fest\u003c/a>, Feb. 22–23 at the Chabot Space & Science Center in Oakland, opens the door for kids to understand how films are made—and provides the hands-on opportunity to create a little magic themselves.\u003c/p>\n\u003cp>BAICFF opens Feb. 20 at Oakland’s Grand Lake with Benh Zeitlin showing and fielding questions about \u003cem>Wendy\u003c/em>, his heroine-driven take on \u003cem>Peter Pan\u003c/em>, before its wide release on Feb. 28. The weekend screening schedule encompasses a range of styles, subjects and lengths, from the Academy Award-winning animated short \u003cem>Hair Love\u003c/em> to Brazilian director Marcos Negrão’s feature-length documentary, \u003cem>Child of Nature\u003c/em>, which introduces us to remarkable kids in Kenya, Syria and other countries who are making a transformational difference.\u003c/p>\n\u003cfigure id=\"attachment_13875050\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13875050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/06-ChildOfNature_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Child of Nature.’ \u003ccite>(Courtesy of Bay Area International Children's Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Filmmakers will be everywhere at BAICFF, eager to dispense inspiration, tips and courage to future directors. The Walt Disney Family Museum hosts a “Character Design” workshop to develop individual skill sets, and assembles its resident experts and a couple mid-career animators to discuss “The Artist’s Career,” offering guidance to prospective illustrators.\u003c/p>\n\u003cp>Berkeley City College also teams up with BAICFF for hands-on workshops about clay puppet animation, pixilation and foley. The big draw, though, may be Sunday’s “Family Fun Stop-Motion Workshops,” which entice parents and children to collaborate on their own short films. Now \u003cem>that’s\u003c/em> an offer you can’t refuse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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And, you know, there was 150 year gap, but it was the same images, and something that we should not be proud of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Tinbete Ermyas and Robert Baldwin III, 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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Patriots%27+Were+Heroes+Of+The+Revolution+%E2%80%94+But+Not+The+History+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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. And when the British retired from North America, they took those guys with them who had citizenship and went to places like Nova Scotia or the Caribbean, or even back to England.\u003c/p>\n\u003cp>\u003cstrong>On why it’s important now to look back at this moment\u003c/strong>\u003c/p>\n\u003cp>Some of the things that we see today remind us of things that happened before, and not in a very positive way. When I saw the children that were trying to apply for asylum in America being separated from their parents at the Texas border, it reminded me of the way that slave children were ripped from their parents so that their parents could be sent to various plantations and worked to death. That that was a common thing back then. And the same ability to ignore human suffering and do something like that—which was exhibited by slave masters—was exhibited by some of the officials dealing with the people applying for asylum. And, you know, there was 150 year gap, but it was the same images, and something that we should not be proud of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Tinbete Ermyas and Robert Baldwin III, 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>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Black+Patriots%27+Were+Heroes+Of+The+Revolution+%E2%80%94+But+Not+The+History+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
},
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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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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"order": 15
},
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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",
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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"
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},
"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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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"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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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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