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"content": "\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The headline out of this morning’s Oscar nominations could have been newness. There was the arrival of Netflix’s two best picture contenders (\u003cem>Marriage Story \u003c/em>with six nominations\u003cem> \u003c/em>and \u003cem>The Irishman \u003c/em>with 10). There was the huge showing for Bong Joon-ho’s remarkable \u003cem>Parasite \u003c/em>(six nominations) out of South Korea, the extraordinarily rare foreign-language film to make the leap to best picture and the first from South Korea. These glimpses of the future, along with strong showings for genuinely oddball films like Taika Waititi’s World War II dark comedy \u003cem>Jojo Rabbit \u003c/em>(six nominations) and even for Sam Mendes’ inventively shot (if narratively familiar) \u003cem>1917 \u003c/em>could have made the thing feel a little fresher than usual. \u003c/p>\n\u003cp>But instead, the nominations outside of \u003cem>Parasite \u003c/em>are overwhelmingly familiar, as if you could have based them on the descriptions of movies on paper without seeing any of them. (This isn’t a comprehensive list of nominations, of course — for that, \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2020\">read the full rundown\u003c/a>.)\u003c/p>\n\u003cp>Both Martin Scorsese (for \u003cem>The Irishman\u003c/em>) and Todd Phillips pretending to be Martin Scorsese (for \u003cem>Joker\u003c/em>) were nominated for best director, along with past winner Mendes (who won in 2000 for \u003cem>American Beauty\u003c/em>), past nominee Quentin Tarantino (nominated for both \u003cem>Pulp Fiction \u003c/em>in 1995 and \u003cem>Inglourious Basterds \u003c/em>in 2009) and Bong Joon-ho. Not a female director in the group, despite strong films this year from Lulu Wang (\u003cem>The Farewell\u003c/em>), Greta Gerwig (\u003cem>Little Women\u003c/em>), Lorene Scafaria (\u003cem>Hustlers\u003c/em>) and others. (Don’t shrug off \u003cem>Hustlers\u003c/em>, by the way. That film is crafted and perfected to within an inch of its life.)\u003c/p>\n\u003cp>Gerwig’s film landed nominations for acting, screenplay, costumes, music and best picture — but its direction was left out. Issa Rae, who announced the nominations with John Cho, paused at the end of the list of nominated directors and pointedly said, “Congratulations to those men.”\u003c/p>\n\u003cfigure id=\"attachment_13873131\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/onceuponatime-800x449.jpg\" alt=\"Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in 'Once Upon a Time in ... Hollywood.'\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13873131\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/onceuponatime-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cliff (Brad Pitt), Rick (Leonardo DiCaprio) and Marvin (Al Pacino) meet at Musso & Frank in ‘Once Upon a Time in … Hollywood.’ \u003ccite>(Andrew Cooper/Columbia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acting nominations were overwhelmingly white English speakers (\u003ca href=\"https://www.npr.org/2016/01/15/463224137/oscars-still-so-white-academy-nominates-nearly-all-white-actors-again\">again\u003c/a>), with only Cynthia Erivo (for \u003cem>Harriet\u003c/em>) and Antonio Banderas (\u003cem>Pain and Glory\u003c/em>) breaking that pattern. Not only that, but some of the most praised performances that were not nominated were prominent actors of color: Eddie Murphy in \u003cem>Dolemite Is My Name\u003c/em>, Jennifer Lopez in \u003cem>Hustlers\u003c/em>, Awkwafina in \u003cem>The Farewell\u003c/em>, Alfre Woodard in \u003cem>Clemency\u003c/em>, Lupita Nyong’o in \u003cem>Us. \u003c/em>Notably, Erivo was nominated for playing Harriet Tubman, precisely the kind of role the Academy seems most inclined to reward black actors (and especially black women) for playing: noble, in pain and comfortably set back in history. Multiple opportunities to recognize black actors and other actors of color in vivid, nuanced, contemporary stories were missed — including the entire cast of \u003cem>Parasite\u003c/em>, a film that was nominated for directing, screenplay, editing, international feature, production design and best picture — but for not one of its remarkable performances. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lots of nods for the Tarantino movie. Lots of nods for the Scorsese movie and the quasi-Scorsese movie. A supporting actor category that’s perfectly defensible but seems unmoored in time (Al Pacino, Joe Pesci, Brad Pitt, Tom Hanks and Anthony Hopkins, all of whom got their first nominations between 1973 and 1996). A nomination for Charlize Theron playing Megyn Kelly in \u003cem>Bombshell\u003c/em>, more of an uncanny impersonation than the kind of interesting performance Theron has done in other films. \u003c/p>\n\u003cp>Nothing at all for \u003cem>The Farewell\u003c/em>, or for the divisive but electric \u003cem>Uncut Gems\u003c/em>. \u003c/p>\n\u003cp>There were, as always, some nominations that were broadly welcomed: The terrific short film \u003cem>Hair Love\u003c/em> from Matthew A. Cherry, Florence Pugh for playing a very different Amy March in \u003cem>Little Women\u003c/em>, Rian Johnson for his screenplay of the true comedy \u003cem>Knives Out. Jojo Rabbit\u003c/em>, arguably the most unconventional film to perform as well as it did, has plenty of enthusiasts, and Waititi is an exciting and offbeat voice. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But anyone who was expecting a bold step forward into the future of cinema, or a chance to salute the fresh and interesting talent that will take us all there, is likely to be disappointed. Once more through most of the same dances as always. Ah, well. We’ll always have \u003cem>Parasite\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Nominations%3A+In+With+The+Old%2C+And+%27Congratulations+To+Those+Men%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fljry1HocUY\u003c/p>\n\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. [aside postid='arts_13870056']\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QrD71wADp0w\u003c/p>\n\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. [aside postid='arts_13879147']\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I know you want me to tear my clothes off so you can look your 50 cents worth,” the cabaret dancer says, scolding her audience from the edge of a stage. “Fifty cents for the privilege of staring at a girl the way your wives won’t let you. What do you suppose we think of you up here? With your silly smirks your mothers would be ashamed of. What’s it for? So’s you can go home when the show’s over and strut before your wives…? I am sure they see through you just like we do.”\u003c/p>\n\u003cp>It’s a scene so unerringly feminist, it’s hard to believe it was filmed in 1940. \u003cem>Dance, Girl, Dance\u003c/em>, a movie that presented dancers as smart and complex at a time when they were more commonly used on screen as little more than background color, was extremely bold. And its landmark scene was par for the course for rebel director Dorothy Arzner.\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/Fljry1HocUY'\n title='//www.youtube.com/embed/Fljry1HocUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in San Francisco in 1897, Arzner spent most of her life in Southern California. What’s clear about the mark she left on the world, however, is that the rebellious spirit of San Francisco stayed with her long after she left. That fearlessness is visible in her film choices, as well as how she conducted her personal life—she was an out and unabashedly butch lesbian at a time when homosexuality was widely condemned. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unshakeable in her commitment to elevating female figures on screen, Arzner’s movies pulled no punches in presenting women as they’d never really been seen before. Both 1931’s \u003cem>Working Girls\u003c/em> and 1933’s \u003cem>Christopher Strong\u003c/em> featured plots in which unmarried women got pregnant—an extremely taboo subject at the time—and highlighted the damage wrought by stigmatizing women in trouble. In \u003cem>Christopher Strong\u003c/em>, even Katherine Hepburn’s go-getting pilot chooses to commit suicide rather than face the public shame of the world finding out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arzner never held back when it came to her views on marriage, either. Instead of the Hollywood romance usually associated with the institution, she presented it as a trap women were forced into for social and financial security. \u003cem>Working Girls\u003c/em>, \u003cem>Craig’s Wife\u003c/em> (1936) and \u003cem>Merrily We Go To A Hell\u003c/em> (1932) were all critical of the institution. The latter even featured a wife proposing an open marriage after finding out her husband has cheated.\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/QrD71wADp0w'\n title='//www.youtube.com/embed/QrD71wADp0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While not the first female director in the world, Arzner was \u003ca href=\"https://en.wikipedia.org/wiki/Dorothy_Arzner\" target=\"_blank\" rel=\"noopener noreferrer\">the only one\u003c/a> working in Hollywood for the entirety of her movie directing career (1927-1943). She was also the first woman to be accepted into the Director’s Guild of America. Not for nothing. Her moviemaking knowledge was built on sturdy foundations of experience, starting in 1919 with her first job as a silent film stenographer. From there, she graduated onto scriptwriting, and then onto film editing. Her directorial debut came in the form of 1927’s \u003cem>Fashions for Women,\u003c/em> and three other silent films followed.\u003c/p>\n\u003cp>In 1929, Arzner was given the great distinction of directing Paramount’s first talkie, \u003cem>The Wild Party, \u003c/em>and she took the challenge on with great innovation and aplomb. When the star of the film, Clara Bow, began struggling to adjust to non-silent set conditions (she was awkwardly checking the positions of microphones mid-scene), Arzner solved the issue by dangling a mic from a fishing line above. Just like that, the boom mic was born. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After directing her final movie (1943’s \u003ca href=\"https://en.wikipedia.org/wiki/First_Comes_Courage\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>First Comes Courage\u003c/em>\u003c/a>, about a female member of the WWII resistance), Arzner directed training videos for the wartime Women’s Army Corps and made dozens of Pepsi-Cola commercials before going on to teach. Arzner’s first classes were at the Pasadena Playhouse, and in 1961, she began teaching at UCLA’s film school. (Interestingly, Arzner’s partner of over 40 years, \u003ca href=\"https://en.wikipedia.org/wiki/Marion_Morgan_(choreographer)\" target=\"_blank\" rel=\"noopener noreferrer\">Marion Morgan\u003c/a>, made a similar transition, moving from life as a Hollywood choreographer to teaching dance at \u003ca href=\"https://books.google.com/books?id=nmQvAQAAMAAJ&pg=PR74&lpg=PR74&dq=marion+morgan+summer+school+berkeley&source=bl&ots=MtBlJXpBow&sig=ACfU3U3XeGZlAtJHqZUIPWz97MqC8jMAoQ&hl=en&sa=X&ved=2ahUKEwj5j8Wg4fnmAhX3CTQIHdHhA0gQ6AEwAXoECAoQAQ#v=onepage&q=marion%20morgan%20summer%20school%20berkeley&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">both UC Berkeley and UCLA\u003c/a>.)\u003c/p>\n\u003cp>Arzner’s time at UCLA left a lasting impression on a multitude of students, including Francis Ford Coppola, who moved to San Francisco shortly after graduating from her class. After lobbying Paramount to name a building on its Hollywood lot after Arzner in 2018, Coppola appeared before the new Dorothy Arzner office and talked fondly of his mentor, calling her “salty and sort of tough, but with a heart as big as the world.”\u003c/p>\n\u003cp>At the end of his \u003ca href=\"https://www.hollywoodreporter.com/news/francis-ford-coppola-joins-paramount-honoring-dorothy-arzner-1090127\" target=\"_blank\" rel=\"noopener noreferrer\">touching speech\u003c/a>, Coppola turned toward a large black-and-white photo of Arzner, showing her working diligently behind a camera, and said: “I can never thank you enough for what helped me for the next 58 years of my career.” In a \u003ca href=\"https://theluxurychannel.com/magazine/the-godfathers-godmother-francis-ford-coppola-on-female-film-makers/\" target=\"_blank\" rel=\"noopener noreferrer\">separate interview\u003c/a>, Coppola noted: “I think what meant so much, as I always had self-doubt, was that she would say: ‘You are going to do fine.’ She was very famous. I just had the good luck that I was her student.”\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Before 'Gretel & Hansel': Exploring the Real-Life History of the Fairytale",
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"content": "\u003cp>A new movie version of \u003cem>Hansel & Gretel\u003c/em> hits theaters this month and, unlike the children’s adaptations we’ve grown accustomed to, it is very much a horror film. \u003cem>Gretel & Hansel\u003c/em> is the logical evolution for a story that’s terrified children and adults alike since the 14th century. What’s more, it continues a long tradition of shifting the story’s narrative in order to reflect, and better suit, the era in which it reemerges.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QZblQLhKcZQ\u003c/p>\n\u003cp>Perhaps unsurprisingly, this tale about siblings being abandoned by their parents in the forest, enticed to the home of a witch and then almost eaten by her, the roots of \u003cem>Hansel & Gretel\u003c/em> spring from shocking real-life horror.\u003c/p>\n\u003cp>The story’s origins have been traced back to the \u003ca href=\"https://en.wikipedia.org/wiki/Great_Famine_of_1315%E2%80%931317\" target=\"_blank\" rel=\"noopener noreferrer\">Great Famine\u003c/a> that started in 1315 and killed millions across Europe. At the time, conditions were so dire and starvation was so widespread that parents were known to \u003ca href=\"https://www.pookpress.co.uk/project/hansel-and-gretel-history/\" target=\"_blank\" rel=\"noopener noreferrer\">abandon their own children\u003c/a>, either to fend for themselves or simply to die. There were also rumors of cannibalism during the period as people struggled to survive. As such, when \u003cem>Hansel & Gretel\u003c/em> first circulated, there was nothing particularly fantastical about a story of “terribly hungry” disowned children nearly being eaten by a frightening stranger.\u003c/p>\n\u003cp>The tale proved so compelling that it was passed from generation to generation via oral traditions until the Brothers Grimm finally \u003ca href=\"https://study.com/academy/lesson/hansel-gretel-setting.html\" target=\"_blank\" rel=\"noopener noreferrer\">immortalized it\u003c/a> in print in 1812. It took less than 50 years, however, for their \u003ca href=\"https://nationalpost.com/life/parenting/something-wicked-this-way-comes-how-real-life-stepmothers-are-battling-centuries-of-fiction-to-overcome-stereotypes\" target=\"_blank\" rel=\"noopener noreferrer\">original version\u003c/a> to undergo some significant updates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the time the \u003ca href=\"https://www.pitt.edu/~dash/grimm015a.html\" target=\"_blank\" rel=\"noopener noreferrer\">final Grimm edition\u003c/a> emerged in 1857, the idea of parents leaving their own children alone in the woods had simply become too taboo to retain—even in a tale that featured attempted cannibalism. As such, all subsequent editions transformed Hansel and Gretel’s coldly practical mother into an overtly abusive stepmother. And their father—already unsure of abandoning his kids in the original story—was presented in a more sympathetic light, thanks to added lines of dialogue, including, early on: “I do feel sorry for the poor children.”\u003c/p>\n\u003cp>Through the decades as we’ve continued to tell the story, small but key details like these have changed to reflect shifting cultural sensibilities. In the composer Engelbert Humperdinck’s 1893 opera \u003ca href=\"https://www.youtube.com/watch?v=JnMEI4aoUfo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hänsel und Gretel\u003c/em>\u003c/a>, for example, the children’s mother was still present and still cold (threatening the kids for not doing their chores and such) but she only sent them into the forest to pick strawberries. That’s quite the leap away from escorting them there to die.\u003c/p>\n\u003cp>By the time \u003ca href=\"https://www.youtube.com/watch?v=GT5Rq_QSk-Y\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Harryhausen’s stop-motion rendition of \u003cem>Hansel & Gretel\u003c/em>\u003c/a> appeared in TV in 1951, the children were going into the forest entirely of their own accord, in order to forage for food to help their stressed-out single father. In this \u003cem>Hansel and Gretel\u003c/em>, the kids were simply performing a selfless deed for their family—and their bravery was rewarded with “gold, silver and precious jewels.” The lesson in this version was about familial bonds, not betrayal—a reflection of the family values of the early ’50s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GT5Rq_QSk-Y\u003c/p>\n\u003cp>In 1983, when Faerie Tale Theatre created \u003ca href=\"https://www.youtube.com/watch?v=S3FEZsyR0Eg\" target=\"_blank\" rel=\"noopener noreferrer\">a version for television\u003c/a>, the moral became even further simplified, with Shelley Duvall introducing the production as a story “about a little boy and girl who learn not to take candy from strangers”—a parable of the prevailing “stranger danger” message for youngsters in the 1980s.\u003c/p>\n\u003cp>The new millennium brought several surefire signals of filmmakers’ struggle to make \u003cem>Hansel & Gretel\u003c/em> make sense for modern audiences. A 2002 movie version starring Dakota Fanning and Taylor Momsen rounded down the story’s sharpest edges by introducing heavy-handed comedic elements and goofy new characters, including Howie Mandel as “The Sandman.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TPP_Pz5YKMI\u003c/p>\n\u003cp>But that’s nothing compared to what happened in 2013. That year, the world ended up with both \u003ca href=\"https://www.imdb.com/title/tt1428538/?ref_=nv_sr_srsg_4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel: Witch Hunters\u003c/em>\u003c/a> (a Jeremy Renner-starring vehicle in which the children are all grown up and hunting the source of their nightmares) and \u003ca href=\"https://www.imdb.com/title/tt2081194/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel Get Baked\u003c/em>\u003c/a> (a stoner movie best forgotten entirely).\u003c/p>\n\u003cp>While movie adaptations were struggling, in 2014 Neil Gaiman and illustrator Lorenzo Mattotti successfully transformed \u003cem>Hansel & Gretel\u003c/em> into a current-day story about refugees surviving war. Their book collaboration succeeded in bringing a grim reality back to the story that had become almost entirely absent in the preceding decades. “In the early Grimms’ versions, there was famine,” \u003ca href=\"http://amanpour.blogs.cnn.com/2014/09/30/bestselling-author-neil-gaiman-recounts-visiting-syrian-refugees/\" target=\"_blank\" rel=\"noopener noreferrer\">Gaiman told CNN\u003c/a> at the time. “Talking to some of the Syrian refugees who ran out of food, telling me about getting permission from their imam to eat cats and dogs because all the other animals had gone—about eating grass, drinking swamp water—I thought, ‘This is \u003cem>Hansel & Gretel\u003c/em> now.’”\u003c/p>\n\u003cp>While we are undoubtedly far better off in 2020 than in the Great Famine of 1315 that originally birthed this story, it makes sense now for a new \u003cem>Hansel & Gretel\u003c/em> to be rooted in horror. With America in the midst of thousands of child separations at the border, a light-hearted narrative in which parents voluntarily abandon their children would be insensitive at best. And while the nation is far from famine, hunger is a real and present danger for \u003ca href=\"https://en.wikipedia.org/wiki/Poverty_in_the_United_States\" target=\"_blank\" rel=\"noopener noreferrer\">millions of American children\u003c/a> right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As long as the dark 700-year-old story of \u003cem>Hansel & Gretel\u003c/em> keeps being reinvented, it will always reflect the times. The fact that it’s returned to its medieval roots this year? That’s a development that should probably give us all pause.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new movie version of \u003cem>Hansel & Gretel\u003c/em> hits theaters this month and, unlike the children’s adaptations we’ve grown accustomed to, it is very much a horror film. \u003cem>Gretel & Hansel\u003c/em> is the logical evolution for a story that’s terrified children and adults alike since the 14th century. What’s more, it continues a long tradition of shifting the story’s narrative in order to reflect, and better suit, the era in which it reemerges.\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/QZblQLhKcZQ'\n title='//www.youtube.com/embed/QZblQLhKcZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps unsurprisingly, this tale about siblings being abandoned by their parents in the forest, enticed to the home of a witch and then almost eaten by her, the roots of \u003cem>Hansel & Gretel\u003c/em> spring from shocking real-life horror.\u003c/p>\n\u003cp>The story’s origins have been traced back to the \u003ca href=\"https://en.wikipedia.org/wiki/Great_Famine_of_1315%E2%80%931317\" target=\"_blank\" rel=\"noopener noreferrer\">Great Famine\u003c/a> that started in 1315 and killed millions across Europe. At the time, conditions were so dire and starvation was so widespread that parents were known to \u003ca href=\"https://www.pookpress.co.uk/project/hansel-and-gretel-history/\" target=\"_blank\" rel=\"noopener noreferrer\">abandon their own children\u003c/a>, either to fend for themselves or simply to die. There were also rumors of cannibalism during the period as people struggled to survive. As such, when \u003cem>Hansel & Gretel\u003c/em> first circulated, there was nothing particularly fantastical about a story of “terribly hungry” disowned children nearly being eaten by a frightening stranger.\u003c/p>\n\u003cp>The tale proved so compelling that it was passed from generation to generation via oral traditions until the Brothers Grimm finally \u003ca href=\"https://study.com/academy/lesson/hansel-gretel-setting.html\" target=\"_blank\" rel=\"noopener noreferrer\">immortalized it\u003c/a> in print in 1812. It took less than 50 years, however, for their \u003ca href=\"https://nationalpost.com/life/parenting/something-wicked-this-way-comes-how-real-life-stepmothers-are-battling-centuries-of-fiction-to-overcome-stereotypes\" target=\"_blank\" rel=\"noopener noreferrer\">original version\u003c/a> to undergo some significant updates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time the \u003ca href=\"https://www.pitt.edu/~dash/grimm015a.html\" target=\"_blank\" rel=\"noopener noreferrer\">final Grimm edition\u003c/a> emerged in 1857, the idea of parents leaving their own children alone in the woods had simply become too taboo to retain—even in a tale that featured attempted cannibalism. As such, all subsequent editions transformed Hansel and Gretel’s coldly practical mother into an overtly abusive stepmother. And their father—already unsure of abandoning his kids in the original story—was presented in a more sympathetic light, thanks to added lines of dialogue, including, early on: “I do feel sorry for the poor children.”\u003c/p>\n\u003cp>Through the decades as we’ve continued to tell the story, small but key details like these have changed to reflect shifting cultural sensibilities. In the composer Engelbert Humperdinck’s 1893 opera \u003ca href=\"https://www.youtube.com/watch?v=JnMEI4aoUfo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hänsel und Gretel\u003c/em>\u003c/a>, for example, the children’s mother was still present and still cold (threatening the kids for not doing their chores and such) but she only sent them into the forest to pick strawberries. That’s quite the leap away from escorting them there to die.\u003c/p>\n\u003cp>By the time \u003ca href=\"https://www.youtube.com/watch?v=GT5Rq_QSk-Y\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Harryhausen’s stop-motion rendition of \u003cem>Hansel & Gretel\u003c/em>\u003c/a> appeared in TV in 1951, the children were going into the forest entirely of their own accord, in order to forage for food to help their stressed-out single father. In this \u003cem>Hansel and Gretel\u003c/em>, the kids were simply performing a selfless deed for their family—and their bravery was rewarded with “gold, silver and precious jewels.” The lesson in this version was about familial bonds, not betrayal—a reflection of the family values of the early ’50s.\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/GT5Rq_QSk-Y'\n title='//www.youtube.com/embed/GT5Rq_QSk-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1983, when Faerie Tale Theatre created \u003ca href=\"https://www.youtube.com/watch?v=S3FEZsyR0Eg\" target=\"_blank\" rel=\"noopener noreferrer\">a version for television\u003c/a>, the moral became even further simplified, with Shelley Duvall introducing the production as a story “about a little boy and girl who learn not to take candy from strangers”—a parable of the prevailing “stranger danger” message for youngsters in the 1980s.\u003c/p>\n\u003cp>The new millennium brought several surefire signals of filmmakers’ struggle to make \u003cem>Hansel & Gretel\u003c/em> make sense for modern audiences. A 2002 movie version starring Dakota Fanning and Taylor Momsen rounded down the story’s sharpest edges by introducing heavy-handed comedic elements and goofy new characters, including Howie Mandel as “The Sandman.”\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/TPP_Pz5YKMI'\n title='//www.youtube.com/embed/TPP_Pz5YKMI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But that’s nothing compared to what happened in 2013. That year, the world ended up with both \u003ca href=\"https://www.imdb.com/title/tt1428538/?ref_=nv_sr_srsg_4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel: Witch Hunters\u003c/em>\u003c/a> (a Jeremy Renner-starring vehicle in which the children are all grown up and hunting the source of their nightmares) and \u003ca href=\"https://www.imdb.com/title/tt2081194/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hansel & Gretel Get Baked\u003c/em>\u003c/a> (a stoner movie best forgotten entirely).\u003c/p>\n\u003cp>While movie adaptations were struggling, in 2014 Neil Gaiman and illustrator Lorenzo Mattotti successfully transformed \u003cem>Hansel & Gretel\u003c/em> into a current-day story about refugees surviving war. Their book collaboration succeeded in bringing a grim reality back to the story that had become almost entirely absent in the preceding decades. “In the early Grimms’ versions, there was famine,” \u003ca href=\"http://amanpour.blogs.cnn.com/2014/09/30/bestselling-author-neil-gaiman-recounts-visiting-syrian-refugees/\" target=\"_blank\" rel=\"noopener noreferrer\">Gaiman told CNN\u003c/a> at the time. “Talking to some of the Syrian refugees who ran out of food, telling me about getting permission from their imam to eat cats and dogs because all the other animals had gone—about eating grass, drinking swamp water—I thought, ‘This is \u003cem>Hansel & Gretel\u003c/em> now.’”\u003c/p>\n\u003cp>While we are undoubtedly far better off in 2020 than in the Great Famine of 1315 that originally birthed this story, it makes sense now for a new \u003cem>Hansel & Gretel\u003c/em> to be rooted in horror. With America in the midst of thousands of child separations at the border, a light-hearted narrative in which parents voluntarily abandon their children would be insensitive at best. And while the nation is far from famine, hunger is a real and present danger for \u003ca href=\"https://en.wikipedia.org/wiki/Poverty_in_the_United_States\" target=\"_blank\" rel=\"noopener noreferrer\">millions of American children\u003c/a> right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As long as the dark 700-year-old story of \u003cem>Hansel & Gretel\u003c/em> keeps being reinvented, it will always reflect the times. The fact that it’s returned to its medieval roots this year? That’s a development that should probably give us all pause.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>Eight animated shorts exploring identity, interpersonal relationships and the ties that bind are lighting up Alamo Drafthouse for three days at the \u003ca href=\"https://www.animationshowofshows.com/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Annual Animation Show of Shows\u003c/a>.\u003c/p>\n\u003cp>The carefully curated collection features work from filmmakers around the globe, and the final shortlist includes talent from seven different countries. One of the films, \u003cem>Daughter—\u003c/em>featuring puppet animation—has been shortlisted for this year’s Academy Awards. The program also includes mini-documentaries about animators Amit Cohen, Ido Shapira and Gil Alkabetz.\u003c/p>\n\u003cp>The full line-up is as follows:\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt0120040/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rubicon\u003c/em>\u003c/a> by Gil Alkabetz (Germany)\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=co2wd9ka2zw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Récit de soi (Self-Narrative)\u003c/em>\u003c/a> by Géraldine Charpentier (Belgium)\u003cbr>\n\u003ca href=\"https://idoshapiraart.com/hounds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hounds\u003c/em>\u003c/a> by Amit Cohen and Ido Shapira (Israel)\u003cbr>\n\u003ca href=\"https://playkids.ch/presskit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kids\u003c/em> \u003c/a>by Michael Frei and Mario von Rickenbach (Switzerland)\u003cbr>\n\u003ca href=\"http://cine3d.ch/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Fox and the Bird (Le Renard et l’Oisille)\u003c/em> \u003c/a>by Sam and Fred Guillaume (Switzerland)\u003cbr>\n\u003ca href=\"http://dariakashcheeva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daughter\u003c/em>\u003c/a> by Daria Kashcheeva (Czech Republic)\u003cbr>\n\u003ca href=\"https://vimeo.com/channels/1407170/265919223\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Le Jour Extraordinaire (Flowing through Wonder)\u003c/em>\u003c/a> by Joanna Lurie (France)\u003cbr>\n\u003ca href=\"https://vimeo.com/nataliamirzoyan\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Five Minutes to Sea\u003c/em>\u003c/a> by Natalia Mirzoyan (Russia)\u003cbr>\n\u003cem>Portrait of Gil Alkabetz (Rubicon)\u003c/em> by Marta Trela (Germany)\u003cbr>\n\u003cem>Portrait of Amit Cohen and Ido Shapira (Hounds)\u003c/em> by Shlomi Yosef (Israel)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a taste of the program, watch the trailer below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G5cxE9CPaIs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"title": "Now Playing! Coven Film Festival Convenes Sisters of Cinema at the Roxie",
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"content": "\u003cp>Some years are devoted to preparation, others to reflection and contemplation. 2020 is going to be a year of action.\u003c/p>\n\u003cp>That’s the conclusion I draw from the \u003ca href=\"https://www.covenfilmfest.com\" rel=\"noopener noreferrer\" target=\"_blank\">Coven Film Festival\u003c/a>‘s pole position on the perennially packed Bay Area festival calendar. With its emphasis on networking, tools, support and inspiration, Coven aspires to be a launching pad for women and non-binary filmmakers. Its eager-beaver stake out of the first post-holiday weekend of the year (Jan. 10–12) is a veritable clarion call for anyone on its frequency.\u003c/p>\n\u003cp>The second-year festival boasts a new director of programming, Faridah Gbadamosi, who has shifted last year’s emphasis on short films to a balance of features and shorts programs. The theme connecting the various works is discernible from even a cursory glance at the lineup: The urgent lure of freedom—and the forces that arise in opposition.\u003c/p>\n\u003cfigure id=\"attachment_13872431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13872431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Haroula Rose’s ‘Once Upon a River,’ 2019. \u003ccite>(Courtesy of Coven Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haroula Rose’s \u003cem>Once Upon a River\u003c/em>, one of three narratives in the ambitious program, is a waterborne, ’70s-set road trip that compels its fleeing/seeking Native American protagonist to reconcile with the past even as she clears a path to her future. Jessica Ellis’s \u003cem>What Lies West\u003c/em> sets a newly minted college grad and her temporary teenage ward on a journey of liberation and, perhaps, transformation.\u003c/p>\n\u003cp>Special events include a master class in directing with actress-director Karen Allen, featuring her 2017 screen adaptation of Carson McCullers’ short story \u003cem>A Tree. A Rock. A Cloud\u003c/em>. The crowdfunding platform Seed & Spark hosts a workshop on connecting filmmakers with potential audiences, while a panel on creative distribution offers guidance for getting finished work out in the world. What’s that old line? Oh, yeah: Sisters are doing it for themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some years are devoted to preparation, others to reflection and contemplation. 2020 is going to be a year of action.\u003c/p>\n\u003cp>That’s the conclusion I draw from the \u003ca href=\"https://www.covenfilmfest.com\" rel=\"noopener noreferrer\" target=\"_blank\">Coven Film Festival\u003c/a>‘s pole position on the perennially packed Bay Area festival calendar. With its emphasis on networking, tools, support and inspiration, Coven aspires to be a launching pad for women and non-binary filmmakers. Its eager-beaver stake out of the first post-holiday weekend of the year (Jan. 10–12) is a veritable clarion call for anyone on its frequency.\u003c/p>\n\u003cp>The second-year festival boasts a new director of programming, Faridah Gbadamosi, who has shifted last year’s emphasis on short films to a balance of features and shorts programs. The theme connecting the various works is discernible from even a cursory glance at the lineup: The urgent lure of freedom—and the forces that arise in opposition.\u003c/p>\n\u003cfigure id=\"attachment_13872431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13872431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Haroula Rose’s ‘Once Upon a River,’ 2019. \u003ccite>(Courtesy of Coven Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haroula Rose’s \u003cem>Once Upon a River\u003c/em>, one of three narratives in the ambitious program, is a waterborne, ’70s-set road trip that compels its fleeing/seeking Native American protagonist to reconcile with the past even as she clears a path to her future. Jessica Ellis’s \u003cem>What Lies West\u003c/em> sets a newly minted college grad and her temporary teenage ward on a journey of liberation and, perhaps, transformation.\u003c/p>\n\u003cp>Special events include a master class in directing with actress-director Karen Allen, featuring her 2017 screen adaptation of Carson McCullers’ short story \u003cem>A Tree. A Rock. A Cloud\u003c/em>. The crowdfunding platform Seed & Spark hosts a workshop on connecting filmmakers with potential audiences, while a panel on creative distribution offers guidance for getting finished work out in the world. What’s that old line? Oh, yeah: Sisters are doing it for themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark",
"headTitle": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFX-wWVOyjc&feature=emb_logo\u003c/p>\n\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\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=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\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/VFX-wWVOyjc'\n title='//www.youtube.com/embed/VFX-wWVOyjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\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=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2020 Golden Globes Were Unusually Earnest, But Offered Few Surprises",
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"content": "\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8v6r6h8oAJw\u003c/p>\n\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-g44lDWyJC0\u003c/p>\n\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZU3Hq_UgHE4\u003c/p>\n\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\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=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\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/8v6r6h8oAJw'\n title='//www.youtube.com/embed/8v6r6h8oAJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-g44lDWyJC0'\n title='//www.youtube.com/embed/-g44lDWyJC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\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/ZU3Hq_UgHE4'\n title='//www.youtube.com/embed/ZU3Hq_UgHE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1395&v=d_P8V6KPnoc&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\u003c/p>\n\u003cp>https://youtu.be/vTfJp2Ts9X8\u003c/p>\n\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.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>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\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/vTfJp2Ts9X8'\n title='//www.youtube.com/embed/vTfJp2Ts9X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How 'Little Women' Remained a Cultural Touchstone for Over 150 Years",
"headTitle": "How ‘Little Women’ Remained a Cultural Touchstone for Over 150 Years | KQED",
"content": "\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Louisa May Alcott's \"Little Women\" continues to find an audience in those eager for nuanced portrayals of girlhood. New York's ALL ARTS asked experts why.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Of the 92 submissions accepted for Best International Feature Film (the Oscar formerly known as Best Foreign Language Film), Bong Joon Ho’s \u003cem>Parasite\u003c/em> is by far the most widely seen. In fact, it’s so admired that the South Korean stunner has an excellent shot at vaulting into the Best Director and Best Picture categories.\u003c/p>\n\u003cp>The only other submission with significant U.S. visibility is Pedro Almodóvar’s \u003cem>Pain and Glory\u003c/em>, which means there are 90 excellent movies from around the globe awaiting your discovery. Intrigued? Fifteen (including the Almodóvar) screen Jan. 3-9 in the annual \u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">For Your Consideration\u003c/a> series at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>Some of the titles chosen by curators João Federici and Karen Davis will receive theatrical releases: Brazil’s separated sisters saga \u003cem>Invisible Life\u003c/em> opens Jan. 3, Italy’s Cosa Nostra history \u003cem>The Traitor\u003c/em> arrives Feb. 7, and Russia’s post-war portrait \u003cem>Beanpole\u003c/em> and Sweden’s gay-themed \u003cem>And Then We Danced\u003c/em> both open Feb. 21. The Czech Republic’s \u003cem>The Painted Bird\u003c/em>, adapted from Jerzy Kozinski’s novel, will probably find its way into theaters. In addition, the U.K.’s Malawi-set \u003cem>The Boy Who Harnessed the Wind\u003c/em> is on Netflix. (To be sure, it’s an even more powerful experience on the big screen.)\u003c/p>\n\u003cfigure id=\"attachment_13872181\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/antigone_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Antigone.’ \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it’s a coincidence (spoiler: it’s not) that a trio of acclaimed dramas propelled by female protagonists don’t have U.S. distribution. Algeria’s \u003cem>Papicha\u003c/em> (Jan. 8, with a Jan. 19 screening at the Roxie) follows a young woman’s determined pursuit of a fully expressed life and career in dangerous times. For Your Consideration may be your only chance to see Canada’s \u003cem>Antigone\u003c/em> (Jan. 8), which transposes Sophocles’ female-fueled tragedy to present-day Montreal. Ditto for Morocco’s \u003cem>Adam\u003c/em> (Jan. 9), which portrays the unexpected connection between a grief-paralyzed widow and a pregnant homeless woman.\u003c/p>\n\u003cp>Five of the Smith Rafael’s 15 selections—\u003cem>The Painted Bird\u003c/em>, \u003cem>Beanpole\u003c/em>, \u003cem>Pain and Glory\u003c/em>, \u003cem>Parasite\u003c/em> and Hungary’s \u003cem>Those Who Remained\u003c/em> (Jan. 5)—made the 10-film shortlist for the Academy Award. While that’s one measure of Davis and Federici’s handicapping skills, I mention it primarily for those who take their Oscar preparations very, very seriously.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the 92 submissions accepted for Best International Feature Film (the Oscar formerly known as Best Foreign Language Film), Bong Joon Ho’s \u003cem>Parasite\u003c/em> is by far the most widely seen. In fact, it’s so admired that the South Korean stunner has an excellent shot at vaulting into the Best Director and Best Picture categories.\u003c/p>\n\u003cp>The only other submission with significant U.S. visibility is Pedro Almodóvar’s \u003cem>Pain and Glory\u003c/em>, which means there are 90 excellent movies from around the globe awaiting your discovery. Intrigued? Fifteen (including the Almodóvar) screen Jan. 3-9 in the annual \u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">For Your Consideration\u003c/a> series at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>Some of the titles chosen by curators João Federici and Karen Davis will receive theatrical releases: Brazil’s separated sisters saga \u003cem>Invisible Life\u003c/em> opens Jan. 3, Italy’s Cosa Nostra history \u003cem>The Traitor\u003c/em> arrives Feb. 7, and Russia’s post-war portrait \u003cem>Beanpole\u003c/em> and Sweden’s gay-themed \u003cem>And Then We Danced\u003c/em> both open Feb. 21. The Czech Republic’s \u003cem>The Painted Bird\u003c/em>, adapted from Jerzy Kozinski’s novel, will probably find its way into theaters. In addition, the U.K.’s Malawi-set \u003cem>The Boy Who Harnessed the Wind\u003c/em> is on Netflix. (To be sure, it’s an even more powerful experience on the big screen.)\u003c/p>\n\u003cfigure id=\"attachment_13872181\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/antigone_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Antigone.’ \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it’s a coincidence (spoiler: it’s not) that a trio of acclaimed dramas propelled by female protagonists don’t have U.S. distribution. Algeria’s \u003cem>Papicha\u003c/em> (Jan. 8, with a Jan. 19 screening at the Roxie) follows a young woman’s determined pursuit of a fully expressed life and career in dangerous times. For Your Consideration may be your only chance to see Canada’s \u003cem>Antigone\u003c/em> (Jan. 8), which transposes Sophocles’ female-fueled tragedy to present-day Montreal. Ditto for Morocco’s \u003cem>Adam\u003c/em> (Jan. 9), which portrays the unexpected connection between a grief-paralyzed widow and a pregnant homeless woman.\u003c/p>\n\u003cp>Five of the Smith Rafael’s 15 selections—\u003cem>The Painted Bird\u003c/em>, \u003cem>Beanpole\u003c/em>, \u003cem>Pain and Glory\u003c/em>, \u003cem>Parasite\u003c/em> and Hungary’s \u003cem>Those Who Remained\u003c/em> (Jan. 5)—made the 10-film shortlist for the Academy Award. While that’s one measure of Davis and Federici’s handicapping skills, I mention it primarily for those who take their Oscar preparations very, very seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! ‘Fanny and Alexander’ Celebrate the Season, at Length, at BAMPFA",
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"content": "\u003cp>It’s not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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