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There’s no story to be told, the action is confined to a junkyard backdrop, and the sight of performers thundering around in cat costumes and make-up is the type of conceit that’s readily accepted on stage, but not as suitable to screen. And yet now, through the magic of digital technology, audiences can witness a surly, bewhiskered Ray Winstone manning a barge as Captain Growltiger or the Ian McKellen saying “Meow, meow” with the gravitas expected of a Shakespearean actor.\u003c/p>\n\u003cp>https://youtu.be/gNTDoOmc1OQ\u003c/p>\n\u003cp>It’s hard to know how to react to \u003cem>Cats\u003c/em>, other than gape in slack-jawed amazement that the dare has continued for so long. The two trailers released in advance of the film have been a cultural phenomenon in themselves, a meme-friendly trip to the uncatty valley, but there’s never any point in its 110-minute running time where it seems less strange or disconcerting. In the true \u003cem>Cats\u003c/em> tradition, the idea should have been scuttled in the testing phase, when the skin-tight melding of faces and bodies with “digital fur technology” looked glitchy and unsettling, like one of the ghosts from a Japanese horror movie. And yet director Tom Hooper and the studio pressed on, under the not-unreasonable logic that audiences will embrace such abstractions readily, as they had on Broadway and the West End.\u003c/p>\n\u003cp>Hooper and his co-screenwriter, Lee Hall (\u003cem>Billy Elliot)\u003c/em>, have done what they can to ease the transition. There’s more narrative tissue connecting one set-piece to the next, and an expanded role for Victoria, a discarded kitten, to be the consistent perspective that ties the whole odyssey together. Played by the renowned ballerina Francesca Hayward, whose face reflects the right amount of wide-eyed curiosity and wonder, Victoria falls in with the Jellicle cats that haunt the streets and abandoned spaces of nocturnal London. The cats gather every year for the Jellicle Ball, and the furry matriarch Old Deuteronomy (Judi Dench) will make the “Jellicle Choice,” in which one cat will selected for rebirth on the Heaviside Layer. (A warning: Do not making a drinking game out of the word “Jellicle.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And with that, various cats show off their personalities, like a disturbingly itchy Rebel Wilson as Jennyanydots, a large tabby cat who leads a spirited number with kitchen mice and cockroaches, or Jason Derulo as Rum Tum Tugger, who’s all about showing off his swaggering self-confidence. Lurking in the shadows is the non-singing mischief-maker Macavity (Idris Elba), “the Napoleon of Crime,” whose plan to win the Jellicle Ball involves disappearing all the other contenders and chaining them to a barge in the middle of the Thames. Meanwhile, the mangy and ostracized former glamour-queen Grizabella (Jennifer Hudson) reminiscences through tears.\u003c/p>\n\u003cp>There’s not enough story, even in this plottier version, to sustain the swings from whimsy to pathos, but it’s the comedy in \u003cem>Cats\u003c/em> that lands flattest, relying heavily on Wilson and James Corden, as alleycat gourmand Bustopher Jones, to pull faces and do pratfalls. The too-muchness of Hudson’s rendering of “Memory” recalls the staging of “I Dreamed a Dream” in Hooper’s botched \u003cem>Les Misérables\u003c/em> adaptation from 2012, which he shot heavily in wide-angle close-ups. Hooper still hacks up the choreography in \u003cem>Cats\u003c/em>, but he does get enough distance from McKellen’s Gus the Theatre Cat to allow the actor to deliver a soulful final curtain call.\u003c/p>\n\u003cp>Despite such small moments of dignity and grace, the fundamental wrongness of a screen version of \u003cem>Cats\u003c/em> never dissipates. Whenever it feels like Stockholm syndrome might kick in, an actor will lick his paws to groom his face or the excitable tails that extend from the cats’ very human behinds will stand in semi-erotic attention. But if the show’s history is any indication, a big enough swath of the population will not feel as skittish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the moment Andrew Lloyd Webber decided to set the T.S. Eliot poetry collection \u003cem>Old Possum’s Book of Practical Cats\u003c/em> to music, \u003cem>Cats\u003c/em> has felt like an escalating series of dares, or a Bialystock & Bloom scheme that accidentally became one of the biggest sensations in Broadway history. It did not seem likely that a plotless revue where cats either introduce themselves or introduce other cats would ignite public interest. Or that Grizabella’s ascendence to the Heaviside Layer would last longer than the acid trip that summoned it to life. Or that a single song, “Memory,” would be so transcendent that it could carry a production for decades.\u003c/p>\n\u003cp>For nearly 40 years, however, there was widespread consensus that \u003cem>Cats\u003c/em> could never be made into a movie. There’s no story to be told, the action is confined to a junkyard backdrop, and the sight of performers thundering around in cat costumes and make-up is the type of conceit that’s readily accepted on stage, but not as suitable to screen. And yet now, through the magic of digital technology, audiences can witness a surly, bewhiskered Ray Winstone manning a barge as Captain Growltiger or the Ian McKellen saying “Meow, meow” with the gravitas expected of a Shakespearean actor.\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/gNTDoOmc1OQ'\n title='//www.youtube.com/embed/gNTDoOmc1OQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s hard to know how to react to \u003cem>Cats\u003c/em>, other than gape in slack-jawed amazement that the dare has continued for so long. The two trailers released in advance of the film have been a cultural phenomenon in themselves, a meme-friendly trip to the uncatty valley, but there’s never any point in its 110-minute running time where it seems less strange or disconcerting. In the true \u003cem>Cats\u003c/em> tradition, the idea should have been scuttled in the testing phase, when the skin-tight melding of faces and bodies with “digital fur technology” looked glitchy and unsettling, like one of the ghosts from a Japanese horror movie. And yet director Tom Hooper and the studio pressed on, under the not-unreasonable logic that audiences will embrace such abstractions readily, as they had on Broadway and the West End.\u003c/p>\n\u003cp>Hooper and his co-screenwriter, Lee Hall (\u003cem>Billy Elliot)\u003c/em>, have done what they can to ease the transition. There’s more narrative tissue connecting one set-piece to the next, and an expanded role for Victoria, a discarded kitten, to be the consistent perspective that ties the whole odyssey together. Played by the renowned ballerina Francesca Hayward, whose face reflects the right amount of wide-eyed curiosity and wonder, Victoria falls in with the Jellicle cats that haunt the streets and abandoned spaces of nocturnal London. The cats gather every year for the Jellicle Ball, and the furry matriarch Old Deuteronomy (Judi Dench) will make the “Jellicle Choice,” in which one cat will selected for rebirth on the Heaviside Layer. (A warning: Do not making a drinking game out of the word “Jellicle.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And with that, various cats show off their personalities, like a disturbingly itchy Rebel Wilson as Jennyanydots, a large tabby cat who leads a spirited number with kitchen mice and cockroaches, or Jason Derulo as Rum Tum Tugger, who’s all about showing off his swaggering self-confidence. Lurking in the shadows is the non-singing mischief-maker Macavity (Idris Elba), “the Napoleon of Crime,” whose plan to win the Jellicle Ball involves disappearing all the other contenders and chaining them to a barge in the middle of the Thames. Meanwhile, the mangy and ostracized former glamour-queen Grizabella (Jennifer Hudson) reminiscences through tears.\u003c/p>\n\u003cp>There’s not enough story, even in this plottier version, to sustain the swings from whimsy to pathos, but it’s the comedy in \u003cem>Cats\u003c/em> that lands flattest, relying heavily on Wilson and James Corden, as alleycat gourmand Bustopher Jones, to pull faces and do pratfalls. The too-muchness of Hudson’s rendering of “Memory” recalls the staging of “I Dreamed a Dream” in Hooper’s botched \u003cem>Les Misérables\u003c/em> adaptation from 2012, which he shot heavily in wide-angle close-ups. Hooper still hacks up the choreography in \u003cem>Cats\u003c/em>, but he does get enough distance from McKellen’s Gus the Theatre Cat to allow the actor to deliver a soulful final curtain call.\u003c/p>\n\u003cp>Despite such small moments of dignity and grace, the fundamental wrongness of a screen version of \u003cem>Cats\u003c/em> never dissipates. Whenever it feels like Stockholm syndrome might kick in, an actor will lick his paws to groom his face or the excitable tails that extend from the cats’ very human behinds will stand in semi-erotic attention. But if the show’s history is any indication, a big enough swath of the population will not feel as skittish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Awkwafina to Star in Film Exploring California Punk and Asian Restaurants",
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"content": "\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>NPR’s movie critic and \u003cem>Pop Culture Happy Hour \u003c/em>hosts picked 20 of their favorite films of the year.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>1917\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YqNYrYUiMfg\u003c/p>\n\u003cp>Working with stories his grandfather told him, \u003cem>Skyfall\u003c/em> director Sam Mendes has crafted a World War I battlefield saga about British soldiers tasked with getting an urgent message to the front. About 1,600 lives are at stake, so there’s urgency aplenty. And with Oscar-winning \u003ca href=\"https://www.npr.org/2019/09/13/760642044/cinematographer-roger-deakins-films-are-artistic-yet-unpretentious\">cinematographer Roger Deakins\u003c/a> on hand, it was bound to have epic sweep. Mendes and Deakins employ all the usual war-movie tricks, with one extra: They’ve told the story in real time, contriving to make the film—from trench explosions to airplane crashes to waterfall slaloming—look like a single continuous shot. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Atlantics\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u6b4PgKq2dE\u003c/p>\n\u003cp>Mati Diop’s Cannes award-winning debut feature is a genre exercise in which genres morph at will, with Senegalese history twisting together with magical realism in a narrative pretzel. What begins as a labor-dispute drama becomes, by turns, a romance, a police procedural, a comedy and, finally, a haunting ghost story grounded in woman power, class resistance and the tragedy of mass migration. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Avengers: Endgame\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TcMBFSGVi1c\u003c/p>\n\u003cp>Say what you will—you can’t deny that the final chapter of a decade of big-budget Marvel superhero storytelling didn’t feel like the culmination it was. And for all the talk of Thanos, \u003cem>Endgame\u003c/em> was never about the villain. Nor was it about\u003ca href=\"https://www.npr.org/2018/04/30/607093337/ok-lets-talk-about-the-ending-of-avengers-infinity-war\"> the Snapture\u003c/a>, which we can all now agree was pretty goofy, as heroic dilemmas go. No, it was about this roster of heroes we’ve come to know, each vibrating at his or her (but mostly his) respective frequency, converging one final time. The result was sad, and thrilling (“On your left!”) and—most importantly—satisfying. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Booksmart\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Uhd3lo_IWJc\u003c/p>\n\u003cp>Beanie Feldstein is a force of nature as a high school overachiever who, on the eve of her graduation, begins to wonder if she needed to work so hard. Kaitlyn Dever, who had a fantastic 2019 between this and the Netflix series \u003cem>Unbelievable,\u003c/em> is her best pal. The two have a chemistry that’s both intimate and fraught, just like real best friends, and the tensions between them feel earned and important. Billie Lourd turns in a scene-stealing turn as a girl who just keeps showing up everywhere, and the movie builds to one of the most satisfying conclusions a comedy provides this year. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Cave\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TaZkwBWuN2A\u003c/p>\n\u003cp>Director Feras Fayyad (\u003cem>Last Men in Aleppo\u003c/em>) has built his riveting documentary around Amani Ballour, a heroic female doctor operating a hospital in tunnels under the city of Ghouta during Syria’s civil war. Her struggle to save lives is complicated by all the usual horrors of war—bombing, starvation, insufficient medical supplies—and a few others exclusive to this conflict: the Syrian government’s use of chemical weapons on its own people and sexism that leads the people benefiting from the doctor’s work to disparage her for working. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Farewell\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kgJT_9IGqsA\u003c/p>\n\u003cp>Writer-director Lulu Wang’s film is based on the radio piece she did for \u003cem>This American Life,\u003c/em> which was based on her own life: Her beloved grandmother back in China was dying, but her family refused to tell this news to the elderly woman. In the film, Billi (Awkwafina) flies to China to be with Nai Nai (Zhao Shuzhen), reluctantly going along with the lie. \u003cem>The Farewell\u003c/em> is the kind of film in which characters spout broad characterizations about the cultural differences between East and West—pronouncements that \u003cem>should\u003c/em> seem ham-fisted, and land with a thud. But Wang’s direction is so intimate and sharply observed, and the performances so natural and unforced, that this warm and gentle film earns every emotion it wrings from you. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Fast Color\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tySUZIiXObc\u003c/p>\n\u003cp>Marvel movies have been around so long that it’s easy to forget that their big-budget effects, A-list stars and sweeping scope represent just one approach to superhero storytelling. There have been several stripped-down, character-based takes on the genre before (\u003cem>Chronicle,\u003c/em> \u003cem>Super\u003c/em>), but\u003cem> Fast Color \u003c/em>exudes a confidence—and a skill for clever, unshowy world-building—that even the most bloated blockbuster would envy. Julia Hart’s visually gorgeous film about a young black woman with destructive powers (a compelling, grounded Gugu Mbatha-Raw) embraces the metaphor at the heart of the superhero idea and proceeds to unpack it in a host of fun and surprising ways. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gloria Bell\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YCwCdQK2Qss\u003c/p>\n\u003cp>Back in late February, as I was grunting my way through a set of barbell squats, my egregiously heterosexual personal trainer asked me if there were any movies coming out soon that he would like to see. I remember thinking to myself: “In the magnificent \u003cem>Gloria Bell,\u003c/em> Julianne Moore plays a well-meaning but basic woman who channels the transformative, redemptive power of disco music and wrap dresses; she ultimately realizes every gay man’s dream of getting rescued from a humiliating experience by the loving embrace of Holland Taylor. The film’s entire emotional arc takes place in close-up, across the porcelain plains of Moore’s perfect face.” I told him he’d like \u003cem>The Beach Bum\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hustlers\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LUG2U-IxPx0\u003c/p>\n\u003cp>All hail Jennifer Lopez, who opened a fur coat and welcomed both Constance Wu and an entire moviegoing audience eager to see Lopez in another solid movie role. As Ramona, an experienced stripper who leads a team of scammers, she’s merciless and athletic, drawing the eye as only a movie star can. The story has a surprising heart, and Keke Palmer is particularly funny and likeable as a member of the team. It’s a good time and a good showcase for a number of performances. And that fur coat is already iconic. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Lost My Body\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iblGg3Rpub8\u003c/p>\n\u003cp>The first three minutes of this animated French puzzler—in which a severed hand escapes a dissection lab and embarks on a peril-filled odyssey to seek its body—contains more imaginative oomph than all of \u003cem>Frozen II\u003c/em>. And the film gets only quirkier from that bizarre beginning, bobbing and weaving through a romance between a hapless pizza delivery guy and a high-rise-dwelling hipster to contemplate profound questions about fate—and what the future holds. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Irishman\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WHXxVmeGQUc\u003c/p>\n\u003cp>For the first two of the film’s luxuriously rich 3 1/2 hours, Martin Scorsese’s epic offers the sort of raucous, splattery, mob-movie spectacle he has so often trafficked in, with a digitally de-aged Robert De Niro as the titular hit man and Al Pacino as Teamsters boss Jimmy Hoffa. Then the screenplay nudges the actors in sadder directions, and the story gets more invested in loss. For while \u003cem>The Irishman\u003c/em> is, like many mob movies, about violence and betrayal, it’s the work of a filmmaker who has earned the right to sum up this genre. So it’s also about regrets, remorse, reckonings; it’s an elegy. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Knives Out\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xi-1NchUqMA\u003c/p>\n\u003cp>What a delight to see a film so attentive to detail, so finely and fondly crafted, and so beautifully cast—one that has no higher goal than to entertain. Rian Johnson’s comedic whodunit gives delicious moments to every member of its all-star cast, and it spotlights Ana de Armas, who plays it mostly straight in a film full of hams and stands out anyway. Like or lump Daniel Craig’s goofy Southern accent, you have to admit this family really knows how to fight. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Lighthouse\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=42_UHhpq530\u003c/p>\n\u003cp>Two men—a crusty old salt (Willem Dafoe) and a taciturn young landlubber (Robert Pattinson)—begin a monthlong shift as keepers of a lonely lighthouse. Things proceed to go gorgeously, grotesquely and full-tilt bananapants awry. From its opening frame, a gray ship emerging from a gray mist (the film is shot in stunning black-and-white), Robert Eggers’ film careens from the hilarious to the horrific, from the gritty to the surreal. Dafoe is wonderful, but—surprisingly, perhaps—it’s Pattinson who takes the bigger swing. He goes big, and it pays off hugely. And so, \u003cem>so\u003c/em> goofily. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Little Women\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AST2-4db4ic\u003c/p>\n\u003cp>Greta Gerwig finds a perfect \u003cem>Lady Bird\u003c/em> follow-up in the story of the March sisters. Faithful to the tone of the book and most of the particulars, Gerwig nevertheless changes the structure and the emphasis in ways that make the tale feel more satisfying and complete. Amy is more than a brat; Beth is more than a saint. Gerwig invests in all the characters, and she emphasizes how Jo (Saoirse Ronan) is a writer not only of passion but also of commerce. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marriage Story\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BHi-a1n8t7M\u003c/p>\n\u003cp>Director Noah Baumbach gets excellent work from Adam Driver and Scarlett Johansson as a divorcing couple watching their split become more and more acrimonious. As their lawyers, Laura Dern, Ray Liotta and Alan Alda do very good supporting work, and a late piano-bar scene—one of several 2019 salutes to the power of Stephen Sondheim—layers theater history atop the film in an intriguing way. Arguments have brewed over whose side to be on (and whose side the film is on), but more than anything, it’s on the side of divorce being a demoralizing, painful experience even for people who hope it won’t be. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Midsommar\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1Vnghdsjmd0\u003c/p>\n\u003cp>A young woman (Florence Pugh) reeling from a family tragedy finds herself in a remote Swedish commune under the flat light of a merciless midnight sun. The horrors that proceed to emerge in Ari Aster’s haunting film aren’t cloaked in shadow, and the matter-of-fact clarity with which they occur makes them all the more disturbing. The truly malevolent, unseen forces that drive \u003cem>Midsommar\u003c/em> aren’t supernatural but too unsettlingly human: grief, guilt and our need for community, whatever the emotional cost. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Once Upon a Time … in Hollywood\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ELeMaP8EPAA\u003c/p>\n\u003cp>The title’s a tipoff: Quentin Tarantino’s love letter to Hollywood takes place inside a fable of Southern California that’s sun blasted by day and neon lit by night. It’s a place and a time rife with a history that, in Tarantino’s hands, gets massaged until it goes a bit feathery at the edges. Fading action star Rick Dalton (an anxious, needy Leonardo DiCaprio) and his faithful stand-in, Cliff Booth (Brad Pitt, who here somehow manages to embody a humble swagger), navigate the transition from film to television, from Old Hollywood to New, and from button-down order to Manson Family chaos. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Pain and Glory\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVGOsrb1H6E\u003c/p>\n\u003cp>Pedro Almodóvar’s quasi-autobiographical opus finds a film director (Antonio Banderas) looking back on the breakage in his life—his health, his family, his loves and, centrally, the decades-long silence between him and an actor he helped put on the map. If you know that in real life, Banderas and Almodóvar had barely spoken since their early films together, that plotline will resonate. But the parallel wouldn’t matter if the film weren’t ravishing on its own. \u003cem>Pain and Glory \u003c/em>revels in art, passion and the origins of desire; it’s Almodóvar’s most affecting, accomplished and personal work in years. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parasite\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5xH0HfJHsaY\u003c/p>\n\u003cp>Here’s a tale of two Korean families: the wealthy Parks, who live in a designer house on a hill, and the scrappy, working-class Kims, who inhabit a grungy basement apartment across town. When the Parks employ the Kims in their home, the stage is set for writer-director Bong Joon-ho’s caustic social satire. Initially, it plays as a comedy of manners in which the haves aren’t hateful, just insensitive. By the last reel, the film becomes a metaphor for class war, and that comedy of manners has curdled into a furious snarl of rage. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Us\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1tzFRIQfwXg\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Doppelgangers are an unsettling horror trope, but in Jordan Peele’s film, the red-suited, scissor-wielding doubles of a nice family on vacation are even creepier than usual. Lupita Nyong’o is brilliant as Red, the leader of the group of invaders, and she invents a spidery walk that is somehow almost human but very much not. Peele’s themes of what is seen and what is hidden come through loud and clear, and the ambiguous final moments are intriguing without seeming unfair. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=NPR%27s+Favorite+Movies+Of+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "\u003cem>Parasite, Knives Out, Avengers: Endgame, Little Women \u003c/em>and \u003cem>Marriage Story \u003c/em>are among the year-end list of 20 films that NPR critics loved the most.",
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"description": "Parasite, Knives Out, Avengers: Endgame, Little Women and Marriage Story are among the year-end list of 20 films that NPR critics loved the most.",
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"headline": "NPR's Favorite Movies of 2019",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>NPR’s movie critic and \u003cem>Pop Culture Happy Hour \u003c/em>hosts picked 20 of their favorite films of the year.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>1917\u003c/strong>\u003c/em>\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/YqNYrYUiMfg'\n title='//www.youtube.com/embed/YqNYrYUiMfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Working with stories his grandfather told him, \u003cem>Skyfall\u003c/em> director Sam Mendes has crafted a World War I battlefield saga about British soldiers tasked with getting an urgent message to the front. About 1,600 lives are at stake, so there’s urgency aplenty. And with Oscar-winning \u003ca href=\"https://www.npr.org/2019/09/13/760642044/cinematographer-roger-deakins-films-are-artistic-yet-unpretentious\">cinematographer Roger Deakins\u003c/a> on hand, it was bound to have epic sweep. Mendes and Deakins employ all the usual war-movie tricks, with one extra: They’ve told the story in real time, contriving to make the film—from trench explosions to airplane crashes to waterfall slaloming—look like a single continuous shot. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Atlantics\u003c/strong>\u003c/em>\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/u6b4PgKq2dE'\n title='//www.youtube.com/embed/u6b4PgKq2dE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mati Diop’s Cannes award-winning debut feature is a genre exercise in which genres morph at will, with Senegalese history twisting together with magical realism in a narrative pretzel. What begins as a labor-dispute drama becomes, by turns, a romance, a police procedural, a comedy and, finally, a haunting ghost story grounded in woman power, class resistance and the tragedy of mass migration. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Avengers: Endgame\u003c/strong>\u003c/em>\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/TcMBFSGVi1c'\n title='//www.youtube.com/embed/TcMBFSGVi1c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Say what you will—you can’t deny that the final chapter of a decade of big-budget Marvel superhero storytelling didn’t feel like the culmination it was. And for all the talk of Thanos, \u003cem>Endgame\u003c/em> was never about the villain. Nor was it about\u003ca href=\"https://www.npr.org/2018/04/30/607093337/ok-lets-talk-about-the-ending-of-avengers-infinity-war\"> the Snapture\u003c/a>, which we can all now agree was pretty goofy, as heroic dilemmas go. No, it was about this roster of heroes we’ve come to know, each vibrating at his or her (but mostly his) respective frequency, converging one final time. The result was sad, and thrilling (“On your left!”) and—most importantly—satisfying. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Booksmart\u003c/strong>\u003c/em>\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/Uhd3lo_IWJc'\n title='//www.youtube.com/embed/Uhd3lo_IWJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beanie Feldstein is a force of nature as a high school overachiever who, on the eve of her graduation, begins to wonder if she needed to work so hard. Kaitlyn Dever, who had a fantastic 2019 between this and the Netflix series \u003cem>Unbelievable,\u003c/em> is her best pal. The two have a chemistry that’s both intimate and fraught, just like real best friends, and the tensions between them feel earned and important. Billie Lourd turns in a scene-stealing turn as a girl who just keeps showing up everywhere, and the movie builds to one of the most satisfying conclusions a comedy provides this year. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Cave\u003c/strong>\u003c/em>\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/TaZkwBWuN2A'\n title='//www.youtube.com/embed/TaZkwBWuN2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Feras Fayyad (\u003cem>Last Men in Aleppo\u003c/em>) has built his riveting documentary around Amani Ballour, a heroic female doctor operating a hospital in tunnels under the city of Ghouta during Syria’s civil war. Her struggle to save lives is complicated by all the usual horrors of war—bombing, starvation, insufficient medical supplies—and a few others exclusive to this conflict: the Syrian government’s use of chemical weapons on its own people and sexism that leads the people benefiting from the doctor’s work to disparage her for working. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Farewell\u003c/strong>\u003c/em>\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/kgJT_9IGqsA'\n title='//www.youtube.com/embed/kgJT_9IGqsA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Writer-director Lulu Wang’s film is based on the radio piece she did for \u003cem>This American Life,\u003c/em> which was based on her own life: Her beloved grandmother back in China was dying, but her family refused to tell this news to the elderly woman. In the film, Billi (Awkwafina) flies to China to be with Nai Nai (Zhao Shuzhen), reluctantly going along with the lie. \u003cem>The Farewell\u003c/em> is the kind of film in which characters spout broad characterizations about the cultural differences between East and West—pronouncements that \u003cem>should\u003c/em> seem ham-fisted, and land with a thud. But Wang’s direction is so intimate and sharply observed, and the performances so natural and unforced, that this warm and gentle film earns every emotion it wrings from you. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Fast Color\u003c/strong>\u003c/em>\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/tySUZIiXObc'\n title='//www.youtube.com/embed/tySUZIiXObc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel movies have been around so long that it’s easy to forget that their big-budget effects, A-list stars and sweeping scope represent just one approach to superhero storytelling. There have been several stripped-down, character-based takes on the genre before (\u003cem>Chronicle,\u003c/em> \u003cem>Super\u003c/em>), but\u003cem> Fast Color \u003c/em>exudes a confidence—and a skill for clever, unshowy world-building—that even the most bloated blockbuster would envy. Julia Hart’s visually gorgeous film about a young black woman with destructive powers (a compelling, grounded Gugu Mbatha-Raw) embraces the metaphor at the heart of the superhero idea and proceeds to unpack it in a host of fun and surprising ways. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Gloria Bell\u003c/strong>\u003c/em>\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/YCwCdQK2Qss'\n title='//www.youtube.com/embed/YCwCdQK2Qss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back in late February, as I was grunting my way through a set of barbell squats, my egregiously heterosexual personal trainer asked me if there were any movies coming out soon that he would like to see. I remember thinking to myself: “In the magnificent \u003cem>Gloria Bell,\u003c/em> Julianne Moore plays a well-meaning but basic woman who channels the transformative, redemptive power of disco music and wrap dresses; she ultimately realizes every gay man’s dream of getting rescued from a humiliating experience by the loving embrace of Holland Taylor. The film’s entire emotional arc takes place in close-up, across the porcelain plains of Moore’s perfect face.” I told him he’d like \u003cem>The Beach Bum\u003c/em>. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hustlers\u003c/strong>\u003c/em>\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/LUG2U-IxPx0'\n title='//www.youtube.com/embed/LUG2U-IxPx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All hail Jennifer Lopez, who opened a fur coat and welcomed both Constance Wu and an entire moviegoing audience eager to see Lopez in another solid movie role. As Ramona, an experienced stripper who leads a team of scammers, she’s merciless and athletic, drawing the eye as only a movie star can. The story has a surprising heart, and Keke Palmer is particularly funny and likeable as a member of the team. It’s a good time and a good showcase for a number of performances. And that fur coat is already iconic. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>I Lost My Body\u003c/strong>\u003c/em>\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/iblGg3Rpub8'\n title='//www.youtube.com/embed/iblGg3Rpub8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three minutes of this animated French puzzler—in which a severed hand escapes a dissection lab and embarks on a peril-filled odyssey to seek its body—contains more imaginative oomph than all of \u003cem>Frozen II\u003c/em>. And the film gets only quirkier from that bizarre beginning, bobbing and weaving through a romance between a hapless pizza delivery guy and a high-rise-dwelling hipster to contemplate profound questions about fate—and what the future holds. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Irishman\u003c/strong>\u003c/em>\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/WHXxVmeGQUc'\n title='//www.youtube.com/embed/WHXxVmeGQUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For the first two of the film’s luxuriously rich 3 1/2 hours, Martin Scorsese’s epic offers the sort of raucous, splattery, mob-movie spectacle he has so often trafficked in, with a digitally de-aged Robert De Niro as the titular hit man and Al Pacino as Teamsters boss Jimmy Hoffa. Then the screenplay nudges the actors in sadder directions, and the story gets more invested in loss. For while \u003cem>The Irishman\u003c/em> is, like many mob movies, about violence and betrayal, it’s the work of a filmmaker who has earned the right to sum up this genre. So it’s also about regrets, remorse, reckonings; it’s an elegy. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Knives Out\u003c/strong>\u003c/em>\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/xi-1NchUqMA'\n title='//www.youtube.com/embed/xi-1NchUqMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What a delight to see a film so attentive to detail, so finely and fondly crafted, and so beautifully cast—one that has no higher goal than to entertain. Rian Johnson’s comedic whodunit gives delicious moments to every member of its all-star cast, and it spotlights Ana de Armas, who plays it mostly straight in a film full of hams and stands out anyway. Like or lump Daniel Craig’s goofy Southern accent, you have to admit this family really knows how to fight. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Lighthouse\u003c/strong>\u003c/em>\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/42_UHhpq530'\n title='//www.youtube.com/embed/42_UHhpq530'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two men—a crusty old salt (Willem Dafoe) and a taciturn young landlubber (Robert Pattinson)—begin a monthlong shift as keepers of a lonely lighthouse. Things proceed to go gorgeously, grotesquely and full-tilt bananapants awry. From its opening frame, a gray ship emerging from a gray mist (the film is shot in stunning black-and-white), Robert Eggers’ film careens from the hilarious to the horrific, from the gritty to the surreal. Dafoe is wonderful, but—surprisingly, perhaps—it’s Pattinson who takes the bigger swing. He goes big, and it pays off hugely. And so, \u003cem>so\u003c/em> goofily. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Little Women\u003c/strong>\u003c/em>\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/AST2-4db4ic'\n title='//www.youtube.com/embed/AST2-4db4ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Greta Gerwig finds a perfect \u003cem>Lady Bird\u003c/em> follow-up in the story of the March sisters. Faithful to the tone of the book and most of the particulars, Gerwig nevertheless changes the structure and the emphasis in ways that make the tale feel more satisfying and complete. Amy is more than a brat; Beth is more than a saint. Gerwig invests in all the characters, and she emphasizes how Jo (Saoirse Ronan) is a writer not only of passion but also of commerce. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marriage Story\u003c/strong>\u003c/em>\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/BHi-a1n8t7M'\n title='//www.youtube.com/embed/BHi-a1n8t7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Noah Baumbach gets excellent work from Adam Driver and Scarlett Johansson as a divorcing couple watching their split become more and more acrimonious. As their lawyers, Laura Dern, Ray Liotta and Alan Alda do very good supporting work, and a late piano-bar scene—one of several 2019 salutes to the power of Stephen Sondheim—layers theater history atop the film in an intriguing way. Arguments have brewed over whose side to be on (and whose side the film is on), but more than anything, it’s on the side of divorce being a demoralizing, painful experience even for people who hope it won’t be. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Midsommar\u003c/strong>\u003c/em>\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/1Vnghdsjmd0'\n title='//www.youtube.com/embed/1Vnghdsjmd0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A young woman (Florence Pugh) reeling from a family tragedy finds herself in a remote Swedish commune under the flat light of a merciless midnight sun. The horrors that proceed to emerge in Ari Aster’s haunting film aren’t cloaked in shadow, and the matter-of-fact clarity with which they occur makes them all the more disturbing. The truly malevolent, unseen forces that drive \u003cem>Midsommar\u003c/em> aren’t supernatural but too unsettlingly human: grief, guilt and our need for community, whatever the emotional cost. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Once Upon a Time … in Hollywood\u003c/strong>\u003c/em>\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/ELeMaP8EPAA'\n title='//www.youtube.com/embed/ELeMaP8EPAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title’s a tipoff: Quentin Tarantino’s love letter to Hollywood takes place inside a fable of Southern California that’s sun blasted by day and neon lit by night. It’s a place and a time rife with a history that, in Tarantino’s hands, gets massaged until it goes a bit feathery at the edges. Fading action star Rick Dalton (an anxious, needy Leonardo DiCaprio) and his faithful stand-in, Cliff Booth (Brad Pitt, who here somehow manages to embody a humble swagger), navigate the transition from film to television, from Old Hollywood to New, and from button-down order to Manson Family chaos. — \u003cem>Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Pain and Glory\u003c/strong>\u003c/em>\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/mVGOsrb1H6E'\n title='//www.youtube.com/embed/mVGOsrb1H6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pedro Almodóvar’s quasi-autobiographical opus finds a film director (Antonio Banderas) looking back on the breakage in his life—his health, his family, his loves and, centrally, the decades-long silence between him and an actor he helped put on the map. If you know that in real life, Banderas and Almodóvar had barely spoken since their early films together, that plotline will resonate. But the parallel wouldn’t matter if the film weren’t ravishing on its own. \u003cem>Pain and Glory \u003c/em>revels in art, passion and the origins of desire; it’s Almodóvar’s most affecting, accomplished and personal work in years. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Parasite\u003c/strong>\u003c/em>\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/5xH0HfJHsaY'\n title='//www.youtube.com/embed/5xH0HfJHsaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here’s a tale of two Korean families: the wealthy Parks, who live in a designer house on a hill, and the scrappy, working-class Kims, who inhabit a grungy basement apartment across town. When the Parks employ the Kims in their home, the stage is set for writer-director Bong Joon-ho’s caustic social satire. Initially, it plays as a comedy of manners in which the haves aren’t hateful, just insensitive. By the last reel, the film becomes a metaphor for class war, and that comedy of manners has curdled into a furious snarl of rage. — \u003cem>Bob Mondello\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Us\u003c/strong>\u003c/em>\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/1tzFRIQfwXg'\n title='//www.youtube.com/embed/1tzFRIQfwXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Doppelgangers are an unsettling horror trope, but in Jordan Peele’s film, the red-suited, scissor-wielding doubles of a nice family on vacation are even creepier than usual. Lupita Nyong’o is brilliant as Red, the leader of the group of invaders, and she invents a spidery walk that is somehow almost human but very much not. Peele’s themes of what is seen and what is hidden come through loud and clear, and the ambiguous final moments are intriguing without seeming unfair. — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=NPR%27s+Favorite+Movies+Of+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the fall of 1993, while I was covering the New York Film Festival and crashing at my cousin’s tiny ground-floor studio apartment, I wrangled an invitation to a press junket. The movie in question had some buzz because a then-hip Tim Burton had written the seasonal story. But I was interested because, in a nondescript studio south of Market, a brilliant animator named Henry Selick had spent many, many months painstakingly directing the stop-motion feature, entitled \u003cem>The Nightmare Before Christmas\u003c/em>.\u003c/p>\n\u003cp>I recollect absolutely nothing about the junket—I have the vaguest recollection of interviewing Selick, but it might have been in San Francisco, at another time—except the swag. A publicist gave me a colorful plastic \u003cem>Nightmare Before Christmas\u003c/em> wristwatch, which I went slightly bonkers over. (Let’s just say I was relatively new to the game, and studio merch was a very big thrill.)\u003c/p>\n\u003cp>That evening, I proudly showed off the rare and precious timepiece to my cousin, exulting in an inevitably, incalculably valuable collectible. Indeed, I cradled the slender box and declared it a family heirloom heading straight to my toddling niece’s safe deposit box.\u003c/p>\n\u003cp>Minutes, perhaps seconds, later, my cousin exploded into laughter. A Burger King TV commercial was hawking \u003cem>Nightmare Before Christmas\u003c/em> watches—the very same plastic thingy I’d been clutching to my breast—for $1.99 with the purchase of a kid’s meal.\u003c/p>\n\u003cp>Chuckle if you will, and my cousin still does, but I got the last laugh: That pristine, beautiful watch (which has resided in the top drawer of my armoire for lo, these many years) sells online for—ah, never mind.\u003c/p>\n\u003cp>\u003cem>The Nightmare Before Christmas\u003c/em>, a twisted, sinister delight for children and grownups alike, screens Saturday, Dec. 21 at 3 and 7pm at the \u003ca href=\"http://www.castrotheatre.com/p-list.html#dec21\" rel=\"noopener noreferrer\" target=\"_blank\">Castro\u003c/a> in a big-screen bonanza of beloved Christmas movies. The mini-roundup wraps Sunday with three screenings of the recently restored Frank Capra gem, \u003cem>It’s a Wonderful Life\u003c/em>. See ’em both with someone you’d give a watch to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the fall of 1993, while I was covering the New York Film Festival and crashing at my cousin’s tiny ground-floor studio apartment, I wrangled an invitation to a press junket. The movie in question had some buzz because a then-hip Tim Burton had written the seasonal story. But I was interested because, in a nondescript studio south of Market, a brilliant animator named Henry Selick had spent many, many months painstakingly directing the stop-motion feature, entitled \u003cem>The Nightmare Before Christmas\u003c/em>.\u003c/p>\n\u003cp>I recollect absolutely nothing about the junket—I have the vaguest recollection of interviewing Selick, but it might have been in San Francisco, at another time—except the swag. A publicist gave me a colorful plastic \u003cem>Nightmare Before Christmas\u003c/em> wristwatch, which I went slightly bonkers over. (Let’s just say I was relatively new to the game, and studio merch was a very big thrill.)\u003c/p>\n\u003cp>That evening, I proudly showed off the rare and precious timepiece to my cousin, exulting in an inevitably, incalculably valuable collectible. Indeed, I cradled the slender box and declared it a family heirloom heading straight to my toddling niece’s safe deposit box.\u003c/p>\n\u003cp>Minutes, perhaps seconds, later, my cousin exploded into laughter. A Burger King TV commercial was hawking \u003cem>Nightmare Before Christmas\u003c/em> watches—the very same plastic thingy I’d been clutching to my breast—for $1.99 with the purchase of a kid’s meal.\u003c/p>\n\u003cp>Chuckle if you will, and my cousin still does, but I got the last laugh: That pristine, beautiful watch (which has resided in the top drawer of my armoire for lo, these many years) sells online for—ah, never mind.\u003c/p>\n\u003cp>\u003cem>The Nightmare Before Christmas\u003c/em>, a twisted, sinister delight for children and grownups alike, screens Saturday, Dec. 21 at 3 and 7pm at the \u003ca href=\"http://www.castrotheatre.com/p-list.html#dec21\" rel=\"noopener noreferrer\" target=\"_blank\">Castro\u003c/a> in a big-screen bonanza of beloved Christmas movies. The mini-roundup wraps Sunday with three screenings of the recently restored Frank Capra gem, \u003cem>It’s a Wonderful Life\u003c/em>. See ’em both with someone you’d give a watch to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Charlize Theron Explores the Complexities of #MeToo in 'Bombshell'",
"headTitle": "Charlize Theron Explores the Complexities of #MeToo in ‘Bombshell’ | KQED",
"content": "\u003cp>In 1994, actor Charlize Theron was just starting out in show business when a famous director invited her to an audition at his home. When she showed up, she found the director drinking and in his pajamas. He touched her leg; she apologized and left in a hurry.\u003c/p>\n\u003cp>Driving away, Theron became angry—with herself: “I just kept hitting the steering wheel,” she says. “I put a lot of blame on myself … that I didn’t say all the right things, and that I didn’t tell him to take a hike, and that I didn’t do all of those things that we so want to believe we’ll do in those situations.”\u003c/p>\n\u003cp>It wasn’t until years later that Theron understood her experience as sexual harassment. It’s a subject that she’s taking on in her latest film, \u003cem>Bombshell\u003c/em>, which follows the women of Fox News who came forward to accuse then-CEO and chairman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/18/528925119/roger-ailes-former-fox-news-ceo-dies-at-77\">Roger Ailes\u003c/a> of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/21/486938004/roger-ailes-accused-of-sexual-harrassment-out-as-chairman-of-fox-news\">sexual harassment\u003c/a>. Theron is one of the film’s producers and also plays former Fox News host \u003ca href=\"https://www.npr.org/2016/12/07/504622630/megyn-kelly-on-trump-and-the-media-were-in-a-dangerous-phase-right-now\">Megyn Kelly\u003c/a>, who wrote about Ailes’ unwanted sexual advances in her 2016 book, \u003ca href=\"https://www.npr.org/books/titles/502042223/settle-for-more\">Settle for More\u003c/a>.\u003c/p>\n\u003cp>Theron says she felt conflicted about playing Kelly: “We have different points of view on a lot of issues,” she says. “And she has definitely said things in the past that I took issue with.”\u003c/p>\n\u003cp>Nevertheless, Theron embraced the opportunity to explore what she calls the “grey area” of sexual harassment: “It’s not always physical assault. It’s not always rape,” she says. “There’s a psychological damage that happens for women in the everyday casualness of language, touch or threat—threat of losing your job. Those are things I’ve definitely encountered.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B2G9-KhBek8\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the movie’s portrayal of the women who worked for Fox News\u003c/strong>\u003c/p>\n\u003cp>A lot of these women have been somewhat hypocritical when it comes to sexual harassment, and have made statements about sexual harassment that have not necessarily been about really bettering the workplace for women or just for women in general. … We weren’t trying to make them heroes. We weren’t trying to whitewash all of the things that they have said in the past. We were going to pepper those things into the film so that we were authentic to them and the story and still feel like, through all of that, that what they did was still incredible. They took down this media mogul, and that has never happened before.\u003c/p>\n\u003cp>\u003cstrong>On confronting the director who sexually harassed her years later—and it being unsatisfying\u003c/strong>\u003c/p>\n\u003cp>In sexual harassment, you’re always waiting for that moment where there’s full closure, where you feel like you’ve actually … had your moment, where you get to say your piece. And that never really happens. I’ve heard this repeatedly in hearing other women’s stories, and that is the unfortunate thing about sexual harassment. You never get that moment where you feel like the tables are reversed and now he’s finally getting it.\u003c/p>\n\u003cp>The closest we’ve ever gotten to it is seeing people like Roger Ailes or \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\">Harvey Weinstein\u003c/a> seeing some real consequences. I’ve never seen that in my entire career. This is really the first moment in my life where I see that maybe there can be real consequences for people with these actions.\u003c/p>\n\u003cp>\u003cstrong>On why the name of the director who harassed her hasn’t been made public \u003c/strong>\u003c/p>\n\u003cp>I actually did disclose his name. You don’t know that because every time I disclosed his name, the journalist made the decision to not write his name, and it goes to show just how deeply systemic this problem is.\u003c/p>\n\u003cp>I remember the first time somebody asked me if I ever had a casting couch experience, and I openly shared the experience and named him, and the person decided to not write his name. So the story is out, and strangely, when the Harvey Weinstein story broke, I, for the first time ever, Googled the story and the story came up everywhere. It popped up everywhere, and nowhere could you find this guy’s name. And it was incredibly upsetting to me.\u003c/p>\n\u003cp>I’m conflicted in the sense that I know that, if I said his name again while I’m promoting this film, that it would take over the importance of this story and that would become the story. I think there will be a time and a place where I will definitely share this. … I’ve always been honest about it. I don’t have a desire to protect him, but I also don’t want him to overshadow this film right now. So there will be a right time where I will talk about this again, and I will say his name, yes.\u003c/p>\n\u003cp>\u003cstrong>On growing up in apartheid-era South Africa and what she was taught in school about race \u003c/strong>\u003c/p>\n\u003cp>On our farm, all of the workers, everybody who worked in the company—and it was a pretty substantial company—all lived on the farm. So my whole childhood, I was raised with Xhosas and Zulus and South Sothos and all different cultures. Their children were raised with me on the property and I consider them my family. … It was only until I was 12 or 13 that I went to an art school in Johannesburg where I really got to witness firsthand absolutely the atrocities of apartheid. …\u003c/p>\n\u003cp>History was leaning very much into our white history. The heroes of our story, of our founding fathers, were all white. That was really the story that we were all told. … This climate that we’re in right now with our polarizing political views in this country, it was very similar in South Africa. I had friends whose father would be for apartheid and once they found out that black people lived on our farm wouldn’t let me come over for a sleepover. …\u003c/p>\n\u003cp>I always wonder what my life would have been like if I grew up in one of those families—if I was just an innocent child who was born into the family, like one of my friends, who believed that apartheid was the right way of life. I was just incredibly blessed that I was raised … by a mother who was just aghast by all of this.\u003c/p>\n\u003cp>I didn’t really truly understand what any of this really did to me as a young child until I was in my mid-30s and I went to therapy for the first time, because of a relationship that was failing. And what I discovered while in therapy, trying to save my relationship, was that I had a lot of trauma from being a young child growing up in South Africa during the apartheid era. …\u003c/p>\n\u003cp>[It’s] a lot to reconcile with when you realize that you benefited under an administration, a nation, a country, because you had the “right” skin color. I benefited. My life was more comfortable because of the suffering of a lot of people who just by chance were born in the “wrong” skin color. That was a lot for me to carry; it still is. It’s something that I’ll carry for the rest of my life.\u003c/p>\n\u003cp>\u003cstrong>On her mother killing her father in self-defense \u003c/strong>\u003c/p>\n\u003cp>My father was a very sick man. My father was an alcoholic all my life. I only knew him one way, and that was as an alcoholic. … It was a pretty hopeless situation. Our family was just kind of stuck in it. And the day-to-day unpredictability of living with an addict is the thing that you sit with and have kind of embedded in your body for the rest of your life, more than just this one event of what happened one night. I think our family was an incredibly unhealthy one. And all of it, I think, scarred us in a way. Of course, I wish what happened that night would have never happened. It’s unfortunately what happens when you don’t get to the root of these issues.\u003c/p>\n\u003cp>My father was so drunk that he shouldn’t have been able to walk when he came into the house with a gun. My mom and I were in my bedroom leaning against the door, because he was trying to push through the door. So both of us were leaning against the door from the inside to have him not be able to push through. He took a step back and just shot through the door three times. None of those bullets ever hit us, which is just a miracle. But in self-defense, she ended the threat.\u003c/p>\n\u003cp>This family violence, this kind of violence that happens within the family, is something that I share with a lot of people. I’m not ashamed to talk about it, because I do think that the more we talk about these things, the more we realize we are not alone in any of it. I think, for me, it’s just always been that this story really is about growing up with addicts and what that does to a person.\u003c/p>\n\u003cp>\u003cstrong>On her decision to adopt as a single parent \u003c/strong>\u003c/p>\n\u003cp>I cast a very wide net. I wanted to believe that somehow my child would find me in the way that we were just meant to be. So I wasn’t specific with anything. … In whatever country they would allow me as a single woman to adopt, that’s where I filed. And it just happened to be that both my children ended up being American. They were born in the United States and they both happened to be African American. Everything that I hoped would happen during my adoption process did happen because these two babies were meant to be in my life—and they’re my children. …\u003c/p>\n\u003cp>It’s definitely something that we still need to work on, this concept of what a family looks like and what constitutes the “right” family or a “strong” family or what we think that should look like. In a lot of places—and I think even for a lot of people and in America—it still feels very traditional in the sense that it should be that every child should have a mother and a father. We’ve kind of wrapped our heads slowly around the idea of two mothers and two fathers, but not so much around the idea of a single parent. It’s just so unfortunate. I know so many people who would be incredible parents. My fight was a little bit easier because of my circumstances, but I would want that for all women who want to share their life and be part of raising another young, small child’s life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charlize+Theron+Portrays+The+%27Gray+Area%27+Of+Sexual+Harassment+In+%27Bombshell%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1994, actor Charlize Theron was just starting out in show business when a famous director invited her to an audition at his home. When she showed up, she found the director drinking and in his pajamas. He touched her leg; she apologized and left in a hurry.\u003c/p>\n\u003cp>Driving away, Theron became angry—with herself: “I just kept hitting the steering wheel,” she says. “I put a lot of blame on myself … that I didn’t say all the right things, and that I didn’t tell him to take a hike, and that I didn’t do all of those things that we so want to believe we’ll do in those situations.”\u003c/p>\n\u003cp>It wasn’t until years later that Theron understood her experience as sexual harassment. It’s a subject that she’s taking on in her latest film, \u003cem>Bombshell\u003c/em>, which follows the women of Fox News who came forward to accuse then-CEO and chairman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/18/528925119/roger-ailes-former-fox-news-ceo-dies-at-77\">Roger Ailes\u003c/a> of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/07/21/486938004/roger-ailes-accused-of-sexual-harrassment-out-as-chairman-of-fox-news\">sexual harassment\u003c/a>. Theron is one of the film’s producers and also plays former Fox News host \u003ca href=\"https://www.npr.org/2016/12/07/504622630/megyn-kelly-on-trump-and-the-media-were-in-a-dangerous-phase-right-now\">Megyn Kelly\u003c/a>, who wrote about Ailes’ unwanted sexual advances in her 2016 book, \u003ca href=\"https://www.npr.org/books/titles/502042223/settle-for-more\">Settle for More\u003c/a>.\u003c/p>\n\u003cp>Theron says she felt conflicted about playing Kelly: “We have different points of view on a lot of issues,” she says. “And she has definitely said things in the past that I took issue with.”\u003c/p>\n\u003cp>Nevertheless, Theron embraced the opportunity to explore what she calls the “grey area” of sexual harassment: “It’s not always physical assault. It’s not always rape,” she says. “There’s a psychological damage that happens for women in the everyday casualness of language, touch or threat—threat of losing your job. Those are things I’ve definitely encountered.”\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/B2G9-KhBek8'\n title='//www.youtube.com/embed/B2G9-KhBek8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the movie’s portrayal of the women who worked for Fox News\u003c/strong>\u003c/p>\n\u003cp>A lot of these women have been somewhat hypocritical when it comes to sexual harassment, and have made statements about sexual harassment that have not necessarily been about really bettering the workplace for women or just for women in general. … We weren’t trying to make them heroes. We weren’t trying to whitewash all of the things that they have said in the past. We were going to pepper those things into the film so that we were authentic to them and the story and still feel like, through all of that, that what they did was still incredible. They took down this media mogul, and that has never happened before.\u003c/p>\n\u003cp>\u003cstrong>On confronting the director who sexually harassed her years later—and it being unsatisfying\u003c/strong>\u003c/p>\n\u003cp>In sexual harassment, you’re always waiting for that moment where there’s full closure, where you feel like you’ve actually … had your moment, where you get to say your piece. And that never really happens. I’ve heard this repeatedly in hearing other women’s stories, and that is the unfortunate thing about sexual harassment. You never get that moment where you feel like the tables are reversed and now he’s finally getting it.\u003c/p>\n\u003cp>The closest we’ve ever gotten to it is seeing people like Roger Ailes or \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\">Harvey Weinstein\u003c/a> seeing some real consequences. I’ve never seen that in my entire career. This is really the first moment in my life where I see that maybe there can be real consequences for people with these actions.\u003c/p>\n\u003cp>\u003cstrong>On why the name of the director who harassed her hasn’t been made public \u003c/strong>\u003c/p>\n\u003cp>I actually did disclose his name. You don’t know that because every time I disclosed his name, the journalist made the decision to not write his name, and it goes to show just how deeply systemic this problem is.\u003c/p>\n\u003cp>I remember the first time somebody asked me if I ever had a casting couch experience, and I openly shared the experience and named him, and the person decided to not write his name. So the story is out, and strangely, when the Harvey Weinstein story broke, I, for the first time ever, Googled the story and the story came up everywhere. It popped up everywhere, and nowhere could you find this guy’s name. And it was incredibly upsetting to me.\u003c/p>\n\u003cp>I’m conflicted in the sense that I know that, if I said his name again while I’m promoting this film, that it would take over the importance of this story and that would become the story. I think there will be a time and a place where I will definitely share this. … I’ve always been honest about it. I don’t have a desire to protect him, but I also don’t want him to overshadow this film right now. So there will be a right time where I will talk about this again, and I will say his name, yes.\u003c/p>\n\u003cp>\u003cstrong>On growing up in apartheid-era South Africa and what she was taught in school about race \u003c/strong>\u003c/p>\n\u003cp>On our farm, all of the workers, everybody who worked in the company—and it was a pretty substantial company—all lived on the farm. So my whole childhood, I was raised with Xhosas and Zulus and South Sothos and all different cultures. Their children were raised with me on the property and I consider them my family. … It was only until I was 12 or 13 that I went to an art school in Johannesburg where I really got to witness firsthand absolutely the atrocities of apartheid. …\u003c/p>\n\u003cp>History was leaning very much into our white history. The heroes of our story, of our founding fathers, were all white. That was really the story that we were all told. … This climate that we’re in right now with our polarizing political views in this country, it was very similar in South Africa. I had friends whose father would be for apartheid and once they found out that black people lived on our farm wouldn’t let me come over for a sleepover. …\u003c/p>\n\u003cp>I always wonder what my life would have been like if I grew up in one of those families—if I was just an innocent child who was born into the family, like one of my friends, who believed that apartheid was the right way of life. I was just incredibly blessed that I was raised … by a mother who was just aghast by all of this.\u003c/p>\n\u003cp>I didn’t really truly understand what any of this really did to me as a young child until I was in my mid-30s and I went to therapy for the first time, because of a relationship that was failing. And what I discovered while in therapy, trying to save my relationship, was that I had a lot of trauma from being a young child growing up in South Africa during the apartheid era. …\u003c/p>\n\u003cp>[It’s] a lot to reconcile with when you realize that you benefited under an administration, a nation, a country, because you had the “right” skin color. I benefited. My life was more comfortable because of the suffering of a lot of people who just by chance were born in the “wrong” skin color. That was a lot for me to carry; it still is. It’s something that I’ll carry for the rest of my life.\u003c/p>\n\u003cp>\u003cstrong>On her mother killing her father in self-defense \u003c/strong>\u003c/p>\n\u003cp>My father was a very sick man. My father was an alcoholic all my life. I only knew him one way, and that was as an alcoholic. … It was a pretty hopeless situation. Our family was just kind of stuck in it. And the day-to-day unpredictability of living with an addict is the thing that you sit with and have kind of embedded in your body for the rest of your life, more than just this one event of what happened one night. I think our family was an incredibly unhealthy one. And all of it, I think, scarred us in a way. Of course, I wish what happened that night would have never happened. It’s unfortunately what happens when you don’t get to the root of these issues.\u003c/p>\n\u003cp>My father was so drunk that he shouldn’t have been able to walk when he came into the house with a gun. My mom and I were in my bedroom leaning against the door, because he was trying to push through the door. So both of us were leaning against the door from the inside to have him not be able to push through. He took a step back and just shot through the door three times. None of those bullets ever hit us, which is just a miracle. But in self-defense, she ended the threat.\u003c/p>\n\u003cp>This family violence, this kind of violence that happens within the family, is something that I share with a lot of people. I’m not ashamed to talk about it, because I do think that the more we talk about these things, the more we realize we are not alone in any of it. I think, for me, it’s just always been that this story really is about growing up with addicts and what that does to a person.\u003c/p>\n\u003cp>\u003cstrong>On her decision to adopt as a single parent \u003c/strong>\u003c/p>\n\u003cp>I cast a very wide net. I wanted to believe that somehow my child would find me in the way that we were just meant to be. So I wasn’t specific with anything. … In whatever country they would allow me as a single woman to adopt, that’s where I filed. And it just happened to be that both my children ended up being American. They were born in the United States and they both happened to be African American. Everything that I hoped would happen during my adoption process did happen because these two babies were meant to be in my life—and they’re my children. …\u003c/p>\n\u003cp>It’s definitely something that we still need to work on, this concept of what a family looks like and what constitutes the “right” family or a “strong” family or what we think that should look like. In a lot of places—and I think even for a lot of people and in America—it still feels very traditional in the sense that it should be that every child should have a mother and a father. We’ve kind of wrapped our heads slowly around the idea of two mothers and two fathers, but not so much around the idea of a single parent. It’s just so unfortunate. I know so many people who would be incredible parents. My fight was a little bit easier because of my circumstances, but I would want that for all women who want to share their life and be part of raising another young, small child’s life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Charlize+Theron+Portrays+The+%27Gray+Area%27+Of+Sexual+Harassment+In+%27Bombshell%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Certain fictional mansions exist only so their owners can mysteriously die in them. The gothic revival abode of famous novelist Harlan Thrombey (Christopher Plummer) in Rian Johnson’s \u003cem>Knives Out\u003c/em> is one of them. All brick turrets and spindly spires on the outside, all dark wood and winding staircases on the inside, it’s a perfect place to throw a party—especially one in which all the suspects in a death are gathered at the request of law enforcement. \u003c/p>\n\u003cp>The family Harlan leaves behind is a motley collection of the idiosyncratic products of his wealth: daughter Linda (Jamie Lee Curtis) and her husband Richard (Don Johnson); Linda and Richard’s hot, aggressive, disappointing son Ransom (Chris Evans); Harlan’s son Walt (Michael Shannon) and his wife Donna (Riki Lindhome) and their son Jacob (Jaeden Martell); widowed daughter-in-law Joni (Toni Collette) and her daughter Meg (Katherine Langford); and the mysterious Greatnana (K Callan), always watching from the corner. There’s also Harlan’s faithful nurse Marta (Ana de Armas), perhaps the only person Harlan truly liked and trusted. \u003c/p>\n\u003cp>A police detective (LaKeith Stanfield) and his helpful right hand (Noah Segan) have gathered everyone for interviews—and accompanying them is Benoit Blanc (Daniel Craig), a southern detective so thickly accented that he’s compared to Colonel Sanders. Why Blanc is there at all is one of many things I would not dare reveal, as this film is not a trick or a postmodern deconstruction of a genre, but is instead an actual old-fashioned whodunit that will eventually tell you whodunit and why, precisely as it should.\u003c/p>\n\u003cp>https://youtu.be/qGqiHJTsRkQ\u003c/p>\n\u003cp>If it sounds like a very big cast full of potentially very big performances, please know it is one. With the exception of de Armas and perhaps Evans, everyone in the film is working in marvelous broad strokes, drawing these characters as types but not retreads. From Collette’s goofy lifestyle influencer to Shannon’s stone-faced and resentment-driven grump, they’re all perfectly cast. And that’s before you get to Jamie Lee Curtis, resplendent in Linda’s luscious, vibrant, real-estate-peddling pantsuits, with round glasses and a cap of perfectly kept, snow-white hair. The work of assembling this group is a credit to casting director Mary Vernieu, and a reminder of what an art it is to find the right people for the right parts. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Knives Out\u003c/em> is also one of the best-dressed movies you’ll see this year, both in terms of actual wardrobe from costume designer Jenny Eagan and from production designer David Crank. This is a very rich family that, as some rich families do, often looks both indulgent and stupefyingly tacky. Their family home is similarly luxurious and weird at the same time, its elaborate rugs and ornate \u003cem>everything \u003c/em>speaking to both the family’s excesses and its overly complicated existence.\u003c/p>\n\u003cfigure id=\"attachment_13871507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg\" alt=\"Group portrait of the cast of 'Knives Out.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13871507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Knives Out,’ written and directed by Rian Johnson, brings together an all-star cast for a festive and fun family fatality. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same goes for the things they are given to say. Johnson’s dialogue is sharp and filled with quotable lines no fair review would quote, and sometimes, just as the story gets very big and broad, a joke will go by very quietly, almost under the breath. Everyone in this cast can nail a line reading to the wall, including a couple of folks—Don Johnson for one, Daniel Craig for another—who have maybe never been given such a good workout for their comic chops. \u003c/p>\n\u003cp>That goes for Chris Evans as well, even though he’s spent the past several years in some of the most popular movies of all time. He was allowed to be funny in a wholesome sort of way in his Captain America days, but it’s a special treat to see him tear right into this rich-brat bit, both preternaturally handsome and cheerfully obnoxious, a one-man cable-knit charm offensive, emphasis very often on “offensive.”\u003c/p>\n\u003cp>What Rian Johnson has done here is a masterful feat of balance, staying within the rules of the creaky-old-house genre but making just enough adjustments to stay clear of story trouble. Because story trouble isn’t uncommon in a film like this: There’s only so long it’s fun to watch people accuse each other while clues accumulate and red herrings fly by before you start to want something to happen, something to be revealed. In \u003cem>Knives Out\u003c/em>, there’s not just one information dump; there are several. The twists are plentiful enough that even if some ungenerous person tried to spoil the film for you, they couldn’t really; you’d still be missing chapters upon chapters of necessary information. \u003c/p>\n\u003cfigure id=\"attachment_13871506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg\" alt=\"Chris Evans leans on a table in white cable knit sweater with four empty beer bottles in front of him.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13871506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Move over, Captain America: Chris Evans in this cable-knit sweater may be Peak Chris Evans. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it seems to you that this film has much in common with \u003cem>Clue\u003c/em>, Johnson knows it. You feel echoes of \u003cem>Murder, She Wrote\u003c/em>? He knows. You think Craig sounds like Foghorn Leghorn? Yup, Johnson knows that too. (Although Craig says he based the voice on historian Shelby Foote.) Self-aware but not self-conscious, \u003cem>Knives Out \u003c/em>acknowledges its debts to the trappings of mystery and frolics in them like a field of clover. \u003c/p>\n\u003cp>At the same time, touches of a contemporary consciousness drive the story. Marta is “the help” to many of the Thrombeys, and the family treats her with a sharply observed combination of affection, condescension and dismissal, provided she stays in what they consider her place. Given how big the other performances are, de Armas and her work here, which has both comedy and stillness, could have been swallowed up. But they aren’t at all. She’s often the most compelling person in the story, even as she’s doing the least. (Not hard, when everyone else is, as they say, doing the most.) \u003c/p>\n\u003cp>It is always a delight to see someone joyfully, efficiently, and indelibly demolish any alleged hard barrier between art and entertainment. \u003cem>Knives Out \u003c/em>is Rian Johnson’s salute to mysteries, but it is also his latest demonstration of his uncommon mastery of the idea that you can—that you \u003cem>should \u003c/em>— artfully entertain an audience with loving attention to detail; that it is just as high a purpose as to artfully devastate or confound them. It’s one of the best movies of the year, and one of the most purely enjoyable, as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \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>Certain fictional mansions exist only so their owners can mysteriously die in them. The gothic revival abode of famous novelist Harlan Thrombey (Christopher Plummer) in Rian Johnson’s \u003cem>Knives Out\u003c/em> is one of them. All brick turrets and spindly spires on the outside, all dark wood and winding staircases on the inside, it’s a perfect place to throw a party—especially one in which all the suspects in a death are gathered at the request of law enforcement. \u003c/p>\n\u003cp>The family Harlan leaves behind is a motley collection of the idiosyncratic products of his wealth: daughter Linda (Jamie Lee Curtis) and her husband Richard (Don Johnson); Linda and Richard’s hot, aggressive, disappointing son Ransom (Chris Evans); Harlan’s son Walt (Michael Shannon) and his wife Donna (Riki Lindhome) and their son Jacob (Jaeden Martell); widowed daughter-in-law Joni (Toni Collette) and her daughter Meg (Katherine Langford); and the mysterious Greatnana (K Callan), always watching from the corner. There’s also Harlan’s faithful nurse Marta (Ana de Armas), perhaps the only person Harlan truly liked and trusted. \u003c/p>\n\u003cp>A police detective (LaKeith Stanfield) and his helpful right hand (Noah Segan) have gathered everyone for interviews—and accompanying them is Benoit Blanc (Daniel Craig), a southern detective so thickly accented that he’s compared to Colonel Sanders. Why Blanc is there at all is one of many things I would not dare reveal, as this film is not a trick or a postmodern deconstruction of a genre, but is instead an actual old-fashioned whodunit that will eventually tell you whodunit and why, precisely as it should.\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/qGqiHJTsRkQ'\n title='//www.youtube.com/embed/qGqiHJTsRkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If it sounds like a very big cast full of potentially very big performances, please know it is one. With the exception of de Armas and perhaps Evans, everyone in the film is working in marvelous broad strokes, drawing these characters as types but not retreads. From Collette’s goofy lifestyle influencer to Shannon’s stone-faced and resentment-driven grump, they’re all perfectly cast. And that’s before you get to Jamie Lee Curtis, resplendent in Linda’s luscious, vibrant, real-estate-peddling pantsuits, with round glasses and a cap of perfectly kept, snow-white hair. The work of assembling this group is a credit to casting director Mary Vernieu, and a reminder of what an art it is to find the right people for the right parts. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Knives Out\u003c/em> is also one of the best-dressed movies you’ll see this year, both in terms of actual wardrobe from costume designer Jenny Eagan and from production designer David Crank. This is a very rich family that, as some rich families do, often looks both indulgent and stupefyingly tacky. Their family home is similarly luxurious and weird at the same time, its elaborate rugs and ornate \u003cem>everything \u003c/em>speaking to both the family’s excesses and its overly complicated existence.\u003c/p>\n\u003cfigure id=\"attachment_13871507\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg\" alt=\"Group portrait of the cast of 'Knives Out.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13871507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutGroup_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘Knives Out,’ written and directed by Rian Johnson, brings together an all-star cast for a festive and fun family fatality. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same goes for the things they are given to say. Johnson’s dialogue is sharp and filled with quotable lines no fair review would quote, and sometimes, just as the story gets very big and broad, a joke will go by very quietly, almost under the breath. Everyone in this cast can nail a line reading to the wall, including a couple of folks—Don Johnson for one, Daniel Craig for another—who have maybe never been given such a good workout for their comic chops. \u003c/p>\n\u003cp>That goes for Chris Evans as well, even though he’s spent the past several years in some of the most popular movies of all time. He was allowed to be funny in a wholesome sort of way in his Captain America days, but it’s a special treat to see him tear right into this rich-brat bit, both preternaturally handsome and cheerfully obnoxious, a one-man cable-knit charm offensive, emphasis very often on “offensive.”\u003c/p>\n\u003cp>What Rian Johnson has done here is a masterful feat of balance, staying within the rules of the creaky-old-house genre but making just enough adjustments to stay clear of story trouble. Because story trouble isn’t uncommon in a film like this: There’s only so long it’s fun to watch people accuse each other while clues accumulate and red herrings fly by before you start to want something to happen, something to be revealed. In \u003cem>Knives Out\u003c/em>, there’s not just one information dump; there are several. The twists are plentiful enough that even if some ungenerous person tried to spoil the film for you, they couldn’t really; you’d still be missing chapters upon chapters of necessary information. \u003c/p>\n\u003cfigure id=\"attachment_13871506\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg\" alt=\"Chris Evans leans on a table in white cable knit sweater with four empty beer bottles in front of him.\" width=\"1200\" height=\"899\" class=\"size-full wp-image-13871506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/KnivesOutChris_1200-1020x764.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Move over, Captain America: Chris Evans in this cable-knit sweater may be Peak Chris Evans. \u003ccite>(Claire Folger/Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If it seems to you that this film has much in common with \u003cem>Clue\u003c/em>, Johnson knows it. You feel echoes of \u003cem>Murder, She Wrote\u003c/em>? He knows. You think Craig sounds like Foghorn Leghorn? Yup, Johnson knows that too. (Although Craig says he based the voice on historian Shelby Foote.) Self-aware but not self-conscious, \u003cem>Knives Out \u003c/em>acknowledges its debts to the trappings of mystery and frolics in them like a field of clover. \u003c/p>\n\u003cp>At the same time, touches of a contemporary consciousness drive the story. Marta is “the help” to many of the Thrombeys, and the family treats her with a sharply observed combination of affection, condescension and dismissal, provided she stays in what they consider her place. Given how big the other performances are, de Armas and her work here, which has both comedy and stillness, could have been swallowed up. But they aren’t at all. She’s often the most compelling person in the story, even as she’s doing the least. (Not hard, when everyone else is, as they say, doing the most.) \u003c/p>\n\u003cp>It is always a delight to see someone joyfully, efficiently, and indelibly demolish any alleged hard barrier between art and entertainment. \u003cem>Knives Out \u003c/em>is Rian Johnson’s salute to mysteries, but it is also his latest demonstration of his uncommon mastery of the idea that you can—that you \u003cem>should \u003c/em>— artfully entertain an audience with loving attention to detail; that it is just as high a purpose as to artfully devastate or confound them. It’s one of the best movies of the year, and one of the most purely enjoyable, as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Irresistible Agnès Varda Retrospective Arrives at BAMPFA and SFMOMA",
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"content": "\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\n\u003cp>https://youtu.be/Po7eU4xo54w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Nearly two-dozen works by the influential French filmmaker, who passed away earlier this year, screen on both sides of the Bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\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/Po7eU4xo54w'\n title='//www.youtube.com/embed/Po7eU4xo54w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“The poor always look for a star in the dark of the night.”\u003c/p>\n\u003cp>So speaks the haute-coutured and bejeweled Imelda Marcos in the new documentary \u003cem>The Kingmaker\u003c/em>, explaining how she continues to bewitch a sizable chunk of the electorate in the nation that she and husband Ferdinand plundered over two strife-ridden decades.\u003c/p>\n\u003cp>For \u003cem>The Kingmaker\u003c/em>, filmmaker Lauren Greenfield has artfully spliced historical footage from the martial law era in the Philippines into contemporary accounts of the Marcos family’s mind-boggling political resurrection. Greenfield’s cameras follow the former first lady, now a popular congresswoman, as she bestows wads of cash and a vaguely maternal gaze on beggars and cancer-stricken children, shows off her gilded mansions, and mobilizes loyalists at rallies for her son Ferdinand, Jr. (affectionately known as “Bongbong”) during his bid for the vice presidency in 2016.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Udbf4xQwWag\u003c/p>\n\u003cp>At 90, Imelda is busily whitewashing a monstrous legacy of corruption and human rights abuses. She anoints herself “mother to the nation … and to the world” while orchestrating her family’s political expansion. In recent years, Imelda, Bongbong, eldest daughter Imee, Imee’s son, and assorted aunts and uncles have played a form of \u003ca href=\"https://www.rappler.com/nation/politics/elections/2019/230629-marcoses-take-seat-senate-congress-province-city-ilocos\" target=\"_blank\" rel=\"noopener noreferrer\">electoral musical chairs\u003c/a> to widen their influence at the provincial and national levels – and \u003ca href=\"https://www.rappler.com/newsbreak/investigative/245290-marcos-networked-propaganda-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">cemented an alliance with the trash-talking, vigilante president Rodrigo Duterte\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout, Imelda has barely dialed down the opulence that made her an easy target for the outraged in the immediate aftermath of the 1986 \u003ca href=\"https://www.bbc.com/news/av/magazine-35526200/how-filipino-people-power-toppled-dictator-marcos\" target=\"_blank\" rel=\"noopener noreferrer\">‘people power’ revolution\u003c/a>, which sent the family into exile in Hawaii. She’s an easy target for filmmakers as well—especially Greenfield, who has a flair for getting \u003ca href=\"https://www.kqed.org/forum/2010101866178/photographer-and-filmmaker-lauren-greenfield-explores-generation-wealth\" target=\"_blank\" rel=\"noopener noreferrer\">the vain and super-rich\u003c/a> to \u003ca href=\"https://www.kqed.org/arts/103705/after_the_recession_an_american_versailles_on_hold\" target=\"_blank\" rel=\"noopener noreferrer\">incriminate themselves\u003c/a>.\u003c/p>\n\u003cp>Imelda piles on the whoppers: “During my time there were no beggars in Manila.” Mao Tse-Tung, she says, was so enchanted with her that he kissed her hand and said, “‘Mrs. Marcos, you started the end of the Cold War.’” Of opposition senator Benigno Aquino, who was assassinated in 1983 (many believe at the order of Imelda), she claimed: “He was no threat to me.” Of the family’s\u003ca href=\"https://www.inquirer.net/118127/edsa-people-power-revolution-day-4-february-25-1986\" target=\"_blank\" rel=\"noopener noreferrer\"> dramatic escape\u003c/a> from Malacañang Palace in U.S. military helicopters after negotiations with the Americans to secure their safety, she declared: “We were kidnapped.” On her ordeal as she stood trial in a New York courtroom on \u003ca href=\"https://www.rappler.com/newsbreak/in-depth/240949-status-updates-rulings-court-cases-vs-marcos-family\" target=\"_blank\" rel=\"noopener noreferrer\">federal racketeering and fraud charges\u003c/a>: “I was alone, widowed, homeless and country-less and penniless.” This after recounting how she stashed fistfuls of diamond jewelry in boxes of baby diapers minutes before fleeing the palace—diamonds which she said eventually went to pay the lawyers.\u003c/p>\n\u003cfigure id=\"attachment_13871256\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-4-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>The camera’s accumulation of visual detail is as damning as the lies: vulgar kitsch rubbing elbows with precious artwork on Imelda’s walls; government buildings, Marcos-era vanity projects, in decay; mountains of legal documents; a flaccid, sweating Bongbong hustled on stage by his mother at a campaign rally.\u003c/p>\n\u003cp>Then there are the surgically precise and devastating accounts of activists who survived the brutal martial law regime.\u003c/p>\n\u003cp>No less appalling is testimony from farmers indigenous to Calauit Island, who were uprooted to make room for Imelda’s perverted vision of an African safari park on Philippine soil, populated by exotic animals shipped over in 1976. The villagers returned after the fall of the Marcos regime, only to find their land overrun by zebras, giraffes and antelopes, who were now suffering the effects of excessive inbreeding, an alien landscape, and inadequate veterinary care. Images of a maggot-infested giraffe make a grim emblem of the fallout from unchecked greed and exploitation.\u003c/p>\n\u003cp>Interviews with Marcos frenemies, crisp and terse, do the family no favors—not even the kooky Texan rancher with his own twisted perspective on the excesses of the regime: “Tell me a country that doesn’t have corruption. And don’t say the U.S. because we are the worst.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_loxS2KkmHM\u003c/p>\n\u003cp>For all her fantasizing and self-contradictions, Imelda does not come across in the film as vapid, but steely and shrewd. The same cannot be said for the presumptive heir: Bongbong sheepishly admits that “when [my mother] speaks, I think I do not need to speak anymore.”\u003c/p>\n\u003cp>In the Philippines, elections for president and vice-president are independently contested; when Bongbong’s bid for the vice presidency failed, \u003ca href=\"https://www.cnn.ph/news/2019/11/29/duterte-2022-polls-robredo-presidency.html\" target=\"_blank\" rel=\"noopener noreferrer\">Duterte scorned the winner\u003c/a>, activist lawyer Leni Robredo, and has supported \u003ca href=\"https://www.rappler.com/nation/209696-duterte-to-resign-if-bongbong-marcos-wins-vp-election-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Bongbong’s attempts to unseat her\u003c/a>. Many fear that, once Bongbong has exhausted legal avenues, he will resort to unlawful means, abetted by Duterte, whose killing sprees in the phony war on drugs form a chilling coda to \u003cem>The Kingmaker\u003c/em>.\u003c/p>\n\u003cp>Imelda has long been in the crosshairs of respected Filipino documentarians—notably, \u003ca href=\"https://youtu.be/35zhnYbG3Ug\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Pedrosa\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cU_EQ9Hfhs4\" target=\"_blank\" rel=\"noopener noreferrer\">Ramona Diaz\u003c/a>, whose meticulous, gut-wrenching work paved the way for Greenfield (and belies the publicity around Greenfield’s “unprecedented access” to Imelda). Imelda has also been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=aYm5Gs3TCtY\" target=\"_blank\" rel=\"noopener noreferrer\">disco poperetta\u003c/a> by David Byrne. But Greenfield’s timing should hit a nerve with Filipinos and anyone who fears for the future of their democracy, in an era when powerful politicians can deploy \u003ca href=\"http://newtontechfordev.com/wp-content/uploads/2018/02/Architects-of-Networked-Disinformation-Executive-Summary-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">electronic disinformation campaigns\u003c/a> executed by \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">troll armies\u003c/a> that make themselves available, like mercenaries, to bad actors globally.\u003c/p>\n\u003cfigure id=\"attachment_13871255\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bongbong Marcos sitting under a portrait of his father, Ferdinand Marcos in a still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>I was a child of the martial law era—too young to fully grasp the atrocities that were being committed, yet aware that schoolmates a few years ahead of me had marched in the streets, constructed Molotov cocktails in our science labs, and \u003ca href=\"https://www.rappler.com/move-ph/12661-ano-bang-alam-mo-tungkol-sa-martial-law\" target=\"_blank\" rel=\"noopener noreferrer\">mysteriously disappeared\u003c/a>: either gone underground with the resistance, exiled abroad with their families, or hauled off by the regime and never seen again.\u003c/p>\n\u003cp>I did have a ringside seat to the muzzling of the press, for my father was the managing editor of the \u003cem>Philippines Herald\u003c/em> in the run-up to martial law. He had been a war correspondent, then bureau chief, for the Associated Press in cities around Asia before taking the \u003cem>Herald\u003c/em> post. He incurred Imelda’s wrath early on when he ran a front-page photo of Marcos delivering a speech, shot in profile, that revealed the president standing on a crate hidden behind the podium to make him look taller. Apparently, newspapers were expected to stick to frontal views of the president.\u003c/p>\n\u003cp>But that was before the clampdown. Upon declaring martial law on Sept. 23, 1972, Marcos shuttered all media operations, rounded up hundreds of his political opponents, and began the expropriation and transfer of businesses from oligarchs to his loyalists. Over the next few months, newspapers, radio and TV stations would reopen—in the hands of Marcos cronies or with government censors occupying their offices. The \u003cem>Herald\u003c/em> would not consent to such an arrangement, and never saw print again.\u003c/p>\n\u003cfigure id=\"attachment_13871254\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Duterte \u003ca href=\"https://www.rappler.com/move-ph/223416-journalist-groups-politicians-statements-arrest-maria-ressa-february-2019\" target=\"_blank\" rel=\"noopener noreferrer\">threatens\u003c/a> \u003ca href=\"https://www.rappler.com/nation/246358-duterte-tells-abs-cbn-sorry-do-not-expect-franchise-renewal\" target=\"_blank\" rel=\"noopener noreferrer\">media organizations\u003c/a> that assail his \u003ca href=\"https://www.rappler.com/nation/234852-drug-war-killings-philippines-threshold-crimes-against-humanity-amnesty-international-report\" target=\"_blank\" rel=\"noopener noreferrer\">war on drugs\u003c/a>, his \u003ca href=\"https://edition.cnn.com/2019/11/25/asia/philippines-china-power-grid-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">cozying up to China\u003c/a> as it \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/the-philippines-sided-with-china-after-a-boat-was-rammed-critics-say-its-all-about-money/2019/07/11/59d55a5c-9369-11e9-956a-88c291ab5c38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">invades Philippine territory\u003c/a> in the South China Sea, his \u003ca href=\"https://www.nytimes.com/2018/05/11/world/asia/philippines-chief-justice-rodrigo-duterte.html\" target=\"_blank\" rel=\"noopener noreferrer\">crippling\u003c/a> of the \u003ca href=\"https://www.rappler.com/nation/246309-duterte-fills-up-more-supreme-court-vacancies-december-2019\" target=\"_blank\" rel=\"noopener noreferrer\">Supreme Court\u003c/a>, and his own penchant for declaring \u003ca href=\"https://verafiles.org/articles/martial-law-mindanao-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">martial law\u003c/a>.\u003c/p>\n\u003cp>Trying to explain the durability of the Marcoses, one commentator in\u003cem> The Kingmaker\u003c/em> characterized Filipinos as “a very forgiving people.” If this were true, then how to explain the grudges that have ignited violence between clans, the political feuds that have persisted through generations? Greenfield didn’t set out to document the \u003ca href=\"https://www.iias.asia/the-newsletter/article/praetorian-network-politics-philippines\" target=\"_blank\" rel=\"noopener noreferrer\">warlordism\u003c/a> that has plagued the country since World War II, nor the uneasy tango between the oligarchs and a succession of presidents. Yet without that context, it’s easy to cast the Marcoses and Duterte as singular villains whose overthrow would restore democracy to a fundamentally egalitarian society.\u003c/p>\n\u003cp>Today, as a free press battles the propaganda peddled on social media to \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a populace that spends more time online than in any other country\u003c/a>, Imelda intones: “Perception is real, and the truth is not.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Kingmaker’ opens on Friday, Dec. 13, at the \u003ca href=\"https://www.sfarts.org/event.cfm?event_num=84126\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, \u003ca href=\"https://www.facebook.com/ShattuckCinemas/?rf=202029573165536\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, the \u003ca href=\"https://www.facebook.com/AlbanyTwin/posts/2219405378096567/\" target=\"_blank\" rel=\"noopener noreferrer\">Albany Twin\u003c/a> in Albany and the \u003ca href=\"https://rafaelfilm.cafilm.org/kingmaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/em>\u003c/p>\n\n",
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"title": "'The Kingmaker' Probes the Renaissance of Imelda Marcos | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The poor always look for a star in the dark of the night.”\u003c/p>\n\u003cp>So speaks the haute-coutured and bejeweled Imelda Marcos in the new documentary \u003cem>The Kingmaker\u003c/em>, explaining how she continues to bewitch a sizable chunk of the electorate in the nation that she and husband Ferdinand plundered over two strife-ridden decades.\u003c/p>\n\u003cp>For \u003cem>The Kingmaker\u003c/em>, filmmaker Lauren Greenfield has artfully spliced historical footage from the martial law era in the Philippines into contemporary accounts of the Marcos family’s mind-boggling political resurrection. Greenfield’s cameras follow the former first lady, now a popular congresswoman, as she bestows wads of cash and a vaguely maternal gaze on beggars and cancer-stricken children, shows off her gilded mansions, and mobilizes loyalists at rallies for her son Ferdinand, Jr. (affectionately known as “Bongbong”) during his bid for the vice presidency in 2016.\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/Udbf4xQwWag'\n title='//www.youtube.com/embed/Udbf4xQwWag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At 90, Imelda is busily whitewashing a monstrous legacy of corruption and human rights abuses. She anoints herself “mother to the nation … and to the world” while orchestrating her family’s political expansion. In recent years, Imelda, Bongbong, eldest daughter Imee, Imee’s son, and assorted aunts and uncles have played a form of \u003ca href=\"https://www.rappler.com/nation/politics/elections/2019/230629-marcoses-take-seat-senate-congress-province-city-ilocos\" target=\"_blank\" rel=\"noopener noreferrer\">electoral musical chairs\u003c/a> to widen their influence at the provincial and national levels – and \u003ca href=\"https://www.rappler.com/newsbreak/investigative/245290-marcos-networked-propaganda-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">cemented an alliance with the trash-talking, vigilante president Rodrigo Duterte\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout, Imelda has barely dialed down the opulence that made her an easy target for the outraged in the immediate aftermath of the 1986 \u003ca href=\"https://www.bbc.com/news/av/magazine-35526200/how-filipino-people-power-toppled-dictator-marcos\" target=\"_blank\" rel=\"noopener noreferrer\">‘people power’ revolution\u003c/a>, which sent the family into exile in Hawaii. She’s an easy target for filmmakers as well—especially Greenfield, who has a flair for getting \u003ca href=\"https://www.kqed.org/forum/2010101866178/photographer-and-filmmaker-lauren-greenfield-explores-generation-wealth\" target=\"_blank\" rel=\"noopener noreferrer\">the vain and super-rich\u003c/a> to \u003ca href=\"https://www.kqed.org/arts/103705/after_the_recession_an_american_versailles_on_hold\" target=\"_blank\" rel=\"noopener noreferrer\">incriminate themselves\u003c/a>.\u003c/p>\n\u003cp>Imelda piles on the whoppers: “During my time there were no beggars in Manila.” Mao Tse-Tung, she says, was so enchanted with her that he kissed her hand and said, “‘Mrs. Marcos, you started the end of the Cold War.’” Of opposition senator Benigno Aquino, who was assassinated in 1983 (many believe at the order of Imelda), she claimed: “He was no threat to me.” Of the family’s\u003ca href=\"https://www.inquirer.net/118127/edsa-people-power-revolution-day-4-february-25-1986\" target=\"_blank\" rel=\"noopener noreferrer\"> dramatic escape\u003c/a> from Malacañang Palace in U.S. military helicopters after negotiations with the Americans to secure their safety, she declared: “We were kidnapped.” On her ordeal as she stood trial in a New York courtroom on \u003ca href=\"https://www.rappler.com/newsbreak/in-depth/240949-status-updates-rulings-court-cases-vs-marcos-family\" target=\"_blank\" rel=\"noopener noreferrer\">federal racketeering and fraud charges\u003c/a>: “I was alone, widowed, homeless and country-less and penniless.” This after recounting how she stashed fistfuls of diamond jewelry in boxes of baby diapers minutes before fleeing the palace—diamonds which she said eventually went to pay the lawyers.\u003c/p>\n\u003cfigure id=\"attachment_13871256\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-4-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-4.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>The camera’s accumulation of visual detail is as damning as the lies: vulgar kitsch rubbing elbows with precious artwork on Imelda’s walls; government buildings, Marcos-era vanity projects, in decay; mountains of legal documents; a flaccid, sweating Bongbong hustled on stage by his mother at a campaign rally.\u003c/p>\n\u003cp>Then there are the surgically precise and devastating accounts of activists who survived the brutal martial law regime.\u003c/p>\n\u003cp>No less appalling is testimony from farmers indigenous to Calauit Island, who were uprooted to make room for Imelda’s perverted vision of an African safari park on Philippine soil, populated by exotic animals shipped over in 1976. The villagers returned after the fall of the Marcos regime, only to find their land overrun by zebras, giraffes and antelopes, who were now suffering the effects of excessive inbreeding, an alien landscape, and inadequate veterinary care. Images of a maggot-infested giraffe make a grim emblem of the fallout from unchecked greed and exploitation.\u003c/p>\n\u003cp>Interviews with Marcos frenemies, crisp and terse, do the family no favors—not even the kooky Texan rancher with his own twisted perspective on the excesses of the regime: “Tell me a country that doesn’t have corruption. And don’t say the U.S. because we are the worst.”\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/_loxS2KkmHM'\n title='//www.youtube.com/embed/_loxS2KkmHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For all her fantasizing and self-contradictions, Imelda does not come across in the film as vapid, but steely and shrewd. The same cannot be said for the presumptive heir: Bongbong sheepishly admits that “when [my mother] speaks, I think I do not need to speak anymore.”\u003c/p>\n\u003cp>In the Philippines, elections for president and vice-president are independently contested; when Bongbong’s bid for the vice presidency failed, \u003ca href=\"https://www.cnn.ph/news/2019/11/29/duterte-2022-polls-robredo-presidency.html\" target=\"_blank\" rel=\"noopener noreferrer\">Duterte scorned the winner\u003c/a>, activist lawyer Leni Robredo, and has supported \u003ca href=\"https://www.rappler.com/nation/209696-duterte-to-resign-if-bongbong-marcos-wins-vp-election-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Bongbong’s attempts to unseat her\u003c/a>. Many fear that, once Bongbong has exhausted legal avenues, he will resort to unlawful means, abetted by Duterte, whose killing sprees in the phony war on drugs form a chilling coda to \u003cem>The Kingmaker\u003c/em>.\u003c/p>\n\u003cp>Imelda has long been in the crosshairs of respected Filipino documentarians—notably, \u003ca href=\"https://youtu.be/35zhnYbG3Ug\" target=\"_blank\" rel=\"noopener noreferrer\">Veronica Pedrosa\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cU_EQ9Hfhs4\" target=\"_blank\" rel=\"noopener noreferrer\">Ramona Diaz\u003c/a>, whose meticulous, gut-wrenching work paved the way for Greenfield (and belies the publicity around Greenfield’s “unprecedented access” to Imelda). Imelda has also been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=aYm5Gs3TCtY\" target=\"_blank\" rel=\"noopener noreferrer\">disco poperetta\u003c/a> by David Byrne. But Greenfield’s timing should hit a nerve with Filipinos and anyone who fears for the future of their democracy, in an era when powerful politicians can deploy \u003ca href=\"http://newtontechfordev.com/wp-content/uploads/2018/02/Architects-of-Networked-Disinformation-Executive-Summary-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">electronic disinformation campaigns\u003c/a> executed by \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">troll armies\u003c/a> that make themselves available, like mercenaries, to bad actors globally.\u003c/p>\n\u003cfigure id=\"attachment_13871255\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-3.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bongbong Marcos sitting under a portrait of his father, Ferdinand Marcos in a still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>I was a child of the martial law era—too young to fully grasp the atrocities that were being committed, yet aware that schoolmates a few years ahead of me had marched in the streets, constructed Molotov cocktails in our science labs, and \u003ca href=\"https://www.rappler.com/move-ph/12661-ano-bang-alam-mo-tungkol-sa-martial-law\" target=\"_blank\" rel=\"noopener noreferrer\">mysteriously disappeared\u003c/a>: either gone underground with the resistance, exiled abroad with their families, or hauled off by the regime and never seen again.\u003c/p>\n\u003cp>I did have a ringside seat to the muzzling of the press, for my father was the managing editor of the \u003cem>Philippines Herald\u003c/em> in the run-up to martial law. He had been a war correspondent, then bureau chief, for the Associated Press in cities around Asia before taking the \u003cem>Herald\u003c/em> post. He incurred Imelda’s wrath early on when he ran a front-page photo of Marcos delivering a speech, shot in profile, that revealed the president standing on a crate hidden behind the podium to make him look taller. Apparently, newspapers were expected to stick to frontal views of the president.\u003c/p>\n\u003cp>But that was before the clampdown. Upon declaring martial law on Sept. 23, 1972, Marcos shuttered all media operations, rounded up hundreds of his political opponents, and began the expropriation and transfer of businesses from oligarchs to his loyalists. Over the next few months, newspapers, radio and TV stations would reopen—in the hands of Marcos cronies or with government censors occupying their offices. The \u003cem>Herald\u003c/em> would not consent to such an arrangement, and never saw print again.\u003c/p>\n\u003cfigure id=\"attachment_13871254\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871254\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/unnamed-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/unnamed-2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Kingmaker’ by Lauren Greenfield.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Duterte \u003ca href=\"https://www.rappler.com/move-ph/223416-journalist-groups-politicians-statements-arrest-maria-ressa-february-2019\" target=\"_blank\" rel=\"noopener noreferrer\">threatens\u003c/a> \u003ca href=\"https://www.rappler.com/nation/246358-duterte-tells-abs-cbn-sorry-do-not-expect-franchise-renewal\" target=\"_blank\" rel=\"noopener noreferrer\">media organizations\u003c/a> that assail his \u003ca href=\"https://www.rappler.com/nation/234852-drug-war-killings-philippines-threshold-crimes-against-humanity-amnesty-international-report\" target=\"_blank\" rel=\"noopener noreferrer\">war on drugs\u003c/a>, his \u003ca href=\"https://edition.cnn.com/2019/11/25/asia/philippines-china-power-grid-intl-hnk/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">cozying up to China\u003c/a> as it \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/the-philippines-sided-with-china-after-a-boat-was-rammed-critics-say-its-all-about-money/2019/07/11/59d55a5c-9369-11e9-956a-88c291ab5c38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">invades Philippine territory\u003c/a> in the South China Sea, his \u003ca href=\"https://www.nytimes.com/2018/05/11/world/asia/philippines-chief-justice-rodrigo-duterte.html\" target=\"_blank\" rel=\"noopener noreferrer\">crippling\u003c/a> of the \u003ca href=\"https://www.rappler.com/nation/246309-duterte-fills-up-more-supreme-court-vacancies-december-2019\" target=\"_blank\" rel=\"noopener noreferrer\">Supreme Court\u003c/a>, and his own penchant for declaring \u003ca href=\"https://verafiles.org/articles/martial-law-mindanao-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">martial law\u003c/a>.\u003c/p>\n\u003cp>Trying to explain the durability of the Marcoses, one commentator in\u003cem> The Kingmaker\u003c/em> characterized Filipinos as “a very forgiving people.” If this were true, then how to explain the grudges that have ignited violence between clans, the political feuds that have persisted through generations? Greenfield didn’t set out to document the \u003ca href=\"https://www.iias.asia/the-newsletter/article/praetorian-network-politics-philippines\" target=\"_blank\" rel=\"noopener noreferrer\">warlordism\u003c/a> that has plagued the country since World War II, nor the uneasy tango between the oligarchs and a succession of presidents. Yet without that context, it’s easy to cast the Marcoses and Duterte as singular villains whose overthrow would restore democracy to a fundamentally egalitarian society.\u003c/p>\n\u003cp>Today, as a free press battles the propaganda peddled on social media to \u003ca href=\"https://www.washingtonpost.com/world/asia_pacific/why-crafty-internet-trolls-in-the-philippines-may-be-coming-to-a-website-near-you/2019/07/25/c5d42ee2-5c53-11e9-98d4-844088d135f2_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">a populace that spends more time online than in any other country\u003c/a>, Imelda intones: “Perception is real, and the truth is not.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Kingmaker’ opens on Friday, Dec. 13, at the \u003ca href=\"https://www.sfarts.org/event.cfm?event_num=84126\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema\u003c/a> in San Francisco, \u003ca href=\"https://www.facebook.com/ShattuckCinemas/?rf=202029573165536\" target=\"_blank\" rel=\"noopener noreferrer\">Shattuck Cinemas\u003c/a> in Berkeley, the \u003ca href=\"https://www.facebook.com/AlbanyTwin/posts/2219405378096567/\" target=\"_blank\" rel=\"noopener noreferrer\">Albany Twin\u003c/a> in Albany and the \u003ca href=\"https://rafaelfilm.cafilm.org/kingmaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Smith Rafael Film Center\u003c/a> in San Rafael.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Year's Golden Globe Nominations are Even More Ridiculous Than Usual",
"headTitle": "This Year’s Golden Globe Nominations are Even More Ridiculous Than Usual | KQED",
"content": "\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BHi-a1n8t7M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eA7D4_qU9jo\u003c/p>\n\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xi-1NchUqMA\u003c/p>\n\u003cp>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iOpl44ewgYk\u003c/p>\n\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Golden Globe nominations are always odd, but this year they may be even odder than usual, particularly on the TV side. But it must be said: The Globes love a star, and now they love Netflix.",
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"description": "The Golden Globe nominations are always odd, but this year they may be even odder than usual, particularly on the TV side. But it must be said: The Globes love a star, and now they love Netflix.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The rapid ascent of Netflix as a creator of film and television continued Monday morning as the streaming service placed four films in the Golden Globes’ 10 best motion picture contenders in comedy and drama. But the Hollywood Foreign Press Association rewarded established directors like Quentin Tarantino, too, while continuing its legendarily wacky devotion to some of its favorite celebrities.\u003c/p>\n\u003cp>As wise observers will remind you every year, the Golden Globes are, in a word, weird. Handed out by only about 90 members of the HFPA, they only \u003cem>kind of \u003c/em>track with other awards, and they’re much less useful as Oscar predictors than things like the Screen Actors Guild or Producers Guild of America—awards handed out by subgroups of Oscar voters. The Globes also have a reputation for rewarding the very most A-list people possible, a habit that coincidentally (?) helps populate the ceremony with stars. Still, the Globes can nudge some projects toward a higher profile, and for good or for ill, it’s one of the flashier (and drunker) ceremonies of the season.\u003c/p>\n\u003cp>But \u003cem>even for the Globes\u003c/em>, this was a set of nominations that can be most generously described as “whimsical.” The HFPA’s tendency to lend television nominations to what you might call the superfamous—people so established that \u003cem>even now\u003c/em>, they are asked why they might dabble in television—may be at its height. (There are more categories than we can possibly get to; you’ll see what we mean when you \u003ca href=\"https://www.goldenglobes.com/articles/nominations-77th-golden-globes-have-been-announced\">review the entire list\u003c/a>.)\u003c/p>\n\u003cp>As for Netflix, only three years ago it was pushing its first real scripted awards contender, \u003cem>Beasts Of No Nation\u003c/em>, starring Idris Elba. Now, with \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>The Two Popes\u003c/em>, \u003cem>Marriage Story \u003c/em>and \u003cem>The Irishman\u003c/em>, it’s presenting four of the leading candidates of the season in multiple categories. Netflix had more than twice as many nominations \u003cem>in the motion picture categories \u003c/em>as Sony Pictures, the second-place distributor. All four films had theatrical openings, but only for a few weeks and only in certain places. All four seem sure to find their primary audiences—even prior to the Globes and the Oscars—on Netflix, in subscriber homes. All four seem like Oscar contenders.\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/BHi-a1n8t7M'\n title='//www.youtube.com/embed/BHi-a1n8t7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marriage Story\u003c/em>, written and directed by Noah Baumbach, stars Adam Driver and Scarlett Johansson as divorcing parents of a young son. \u003cem>The Irishman \u003c/em>is Martin Scorsese’s three-and-a-half-hour mob drama in which Robert De Niro, Al Pacino and Joe Pesci lead a sprawling cast through a story that spans years. \u003cem>The Two Popes \u003c/em>is a fictionalized account of a meeting between Pope Benedict and future Pope Francis. And \u003cem>Dolemite Is My Name \u003c/em>stars Eddie Murphy in the true story of Rudy Ray Moore, whose Dolemite character became a sensation in the 1970s.\u003c/p>\n\u003cp>Nominated in the outstanding drama category alongside \u003cem>Marriage Story\u003c/em>, \u003cem>The Two Popes \u003c/em>and \u003cem>The Irishman \u003c/em>is \u003cem>Joker\u003c/em>, the Scorsese-inspired but Todd Phillips-directed film about a sad clown. And that category is rounded out by \u003cem>1917\u003c/em>, Sam Mendes’ war drama shot to resemble a single unbroken take. One perhaps surprising absence in that category and some others is \u003cem>Uncut Gems\u003c/em>, starring Adam Sandler as a desperate jeweler trying to get through a particularly bad day. Directed by the Safdie brothers, it’s been racking up wins and nominations from groups including the National Board of Review, the Independent Spirit Awards and the Gotham Awards. It didn’t show up on the Globes’ radar.\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/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the comedy/musical side, \u003cem>Dolemite \u003c/em>is joined by Tarantino’s \u003cem>Once Upon A Time … In Hollywood,\u003c/em> a truth-adjacent tale of an actor and a stuntman (Leonardo DiCaprio and Brad Pitt) who cross paths with history in Los Angeles in 1969. Representing musicals is \u003cem>Rocketman\u003c/em>, the Elton John biopic; representing “it’s a comedy, but about Hitler” is Taika Waititi’s \u003cem>Jojo Rabbit;\u003c/em> and representing comedies not based on actual history is Rian Johnson’s \u003cem>Knives Out\u003c/em>.\u003c/p>\n\u003cp>Nominated TV dramas included \u003cem>Big Little Lies\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>The Morning Show\u003c/em> and \u003cem>Succession\u003c/em>. The miss on HBO’s \u003cem>Watchmen \u003c/em>is glaring, and in the dramatic acting category, the miss of Regina King as that show’s lead is equally regrettable, particularly since Jennifer Aniston and Reese Witherspoon were both nominated for \u003cem>The Morning Show\u003c/em>, which asks far less of both of them than \u003cem>Watchmen \u003c/em>does of King. Despite its middling reviews, \u003cem>The Morning Show \u003c/em>is perhaps the biggest Golden Globes bait ever assembled, with the superfamous Aniston, Witherspoon and Steve Carell all involved, and it’s amusing but not surprising that the show’s best performance—Billy Crudup as a slippery but transfixing television executive—was skipped.\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/eA7D4_qU9jo'\n title='//www.youtube.com/embed/eA7D4_qU9jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The nominated TV comedies are \u003cem>Barry\u003c/em>, \u003cem>Fleabag\u003c/em>, \u003cem>The Kominsky Method\u003c/em>, \u003cem>The Marvelous Mrs. Maisel \u003c/em>and \u003cem>The Politician\u003c/em>—with the surprise being \u003cem>The Politician\u003c/em>, a Ryan Murphy Netflix project that, it should be noted, has a superfamous cast member in Gwyneth Paltrow.\u003c/p>\n\u003cp>But perhaps no superfamous person seems more directly responsible for a nomination than George Clooney. Clooney’s supporting performance in, and position as an executive producer and director for, Hulu’s mostly overlooked miniseries adaptation of \u003cem>Catch-22 \u003c/em>seems like the only possible reason the show was nominated in the limited series category. That smarts in particular because the category—and the nominations in their entirety—snubbed Ava DuVernay’s \u003cem>When They See Us\u003c/em>, a project packed with deservedly lauded performances.\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/xi-1NchUqMA'\n title='//www.youtube.com/embed/xi-1NchUqMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The best use to which the Globes’ sense of whimsy has been put in the past has been the periodic boosting of new talent, and it’s not that it didn’t happen at all this year. It was lovely to see comedy/musical acting nominations for Ana de Armas in \u003cem>Knives Out\u003c/em>, Awkwafina in \u003cem>The Farewell \u003c/em>and Beanie Feldstein in \u003cem>Booksmart \u003c/em>(along with Cate Blanchett in \u003cem>Where’d You Go, Bernadette\u003c/em> [really!] and Emma Thompson in \u003cem>Late Night\u003c/em>). All three are exciting and interesting actors with massive upside, and de Armas would have been easy to overlook in \u003cem>Knives Out\u003c/em>‘s huge cast.\u003c/p>\n\u003cp>And what a treat—albeit not really a surprise—to see Jennifer Lopez justly nominated for her supporting performance in \u003cem>Hustlers\u003c/em>. It seemed at one time like Lopez might not ever have a role as good as the one she had in \u003cem>Out of Sight\u003c/em>. But here she was again, demonstrating that in the right role, she is like no one else.\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/iOpl44ewgYk'\n title='//www.youtube.com/embed/iOpl44ewgYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But there are no female directors nominated this year, and no female screenwriters either. Little of this Netflix juice—so often lauded as a chance for people who can’t find homes elsewhere to shine—inured to the benefit of women. Who are the big names in streaming, quoth the Globes? A lot of them are the same names who have been kicking around in Hollywood for a long time—Scorsese, Baumbach, Clooney. Powerhouse women in streaming, for the moment, are onscreen: Aniston, Witherspoon, Johansson. Not that theatrical releases were better: There was no nomination for Greta Gerwig for her directing or writing of the fabulous \u003cem>Little Women \u003c/em>adaptation that’s soon to arrive, although Saoirse Ronan was nominated for playing Jo March and Alexandre Desplat for his score.\u003c/p>\n\u003cp>Artists of color are mostly left out as well. While Bong Joon-Ho’s \u003cem>Parasite \u003c/em>was recognized in the foreign film, directing and screenplay categories, all five motion picture dramas are stories of white protagonists, told largely by white storytellers. Across movies and television, across 70 acting nominations, there are three black nominees: Billy Porter for the TV series \u003cem>Pose\u003c/em>, Cynthia Erivo for playing Harriet Tubman in \u003cem>Harriet\u003c/em>, and Eddie Murphy for \u003cem>Dolemite\u003c/em>. That makes omissions like the work of artists like DuVernay and King all the more jarring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s good not to get all wound up about the Golden Globe nominations, because they’re always somewhat ridiculous. But this year, they do seem a little extra ridiculous.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Golden+Globe+Nominations%3A+Netflix+Cleans+Up+As+Famous+Faces+Rule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The expert estimate is that 90 percent of U.S. silent films and 50 percent of the sound films made in the U.S. before 1950 are gone forever. The root cause is (or was) disinterest—nobody could imagine any value (i.e., revenue stream) after a movie’s theatrical run until television came along. So early nitrate prints were destroyed to extract their silver, and most of those that were saved decomposed in their cans.\u003c/p>\n\u003cp>Commercial movies are our cultural heritage. Now consider the other types of moving images created for a particular purpose and which are part of our larger, collective history: All the home movies, educational films and industrials (training and marketing films) that were (and are) chucked into dumpsters and landfills.\u003c/p>\n\u003cfigure id=\"attachment_13871111\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet.jpeg\" alt=\"A man in uniform and a woman smile on Market Street in celebration.\" width=\"1010\" height=\"768\" class=\"size-full wp-image-13871111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet.jpeg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet-800x608.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet-768x584.jpeg 768w\" sizes=\"(max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">V-J Day in 1945 on Market Street. \u003ccite>(Courtesy of Rick Prelinger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many years ago, on the other coast, Rick Prelinger began collecting discarded corporate and amateur films. They had outlived their original use, but I like to think that their afterlife—in the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division and in the \u003ca href=\"https://archive.org/details/prelinger?tab=collection\" rel=\"noopener noreferrer\" target=\"_blank\">Prelinger Archives\u003c/a>—serves a greater purpose. Dip a toe into the digitized collection and see if you agree, when you resurface after three minutes or three hours.\u003c/p>\n\u003cp>For 14 years, Prelinger has compiled and hosted a public screening gleaned from his trove. \u003ca href=\"https://www.eventbrite.com/e/rick-prelingers-lost-landscapes-14-tuesday-wednesday-tickets-80603169249\" rel=\"noopener noreferrer\" target=\"_blank\">Lost Landscapes of San Francisco\u003c/a>, presented in collaboration with the Long Now Foundation and unspooling Dec. 10 and 11 at the Castro, revives and revisits our town as it was for most of the 20th century. (Post-1980s footage is too contemporary. Check back in 10 years.)\u003c/p>\n\u003cfigure id=\"attachment_13871109\" class=\"wp-caption aligncenter\" style=\"max-width: 1062px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Sky_Tram_Late_1950s.jpeg\" alt=\"A white aerial tram hangs from wires over rocks and surf below.\" width=\"1062\" height=\"762\" class=\"size-full wp-image-13871109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s.jpeg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-800x574.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-768x551.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-1020x732.jpeg 1020w\" sizes=\"(max-width: 1062px) 100vw, 1062px\">\u003cfigcaption class=\"wp-caption-text\">A late 1950s still of the Sky Tram (a short cable car aerial ride that traveled from the Cliff House to Point Lobos). \u003ccite>(Courtesy of Rick Prelinger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A benefit in part for the Prelinger Library, which Megan and Rick Prelinger founded in 2003, the Lost Landscapes show aims for more than a nostalgic immersion in—or communal wake for—the San Francisco of one’s youth (for natives) or hallowed arrival (for transplants). Instead of a church-quiet, old-school movie experience, Rick Prelinger encourages viewers to shout out the names of landmarks and locations, long-gone celebrities and local characters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His goal is to share, not show off, and to be the catalyst for an experience in which the audience (re)claims its communal identity and shared history. As 2019 rushes toward its finale, reminding us of the ceaseless passage of time, Lost Landscapes of San Francisco simultaneously turns back the clock and re-awakens us to the present.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The expert estimate is that 90 percent of U.S. silent films and 50 percent of the sound films made in the U.S. before 1950 are gone forever. The root cause is (or was) disinterest—nobody could imagine any value (i.e., revenue stream) after a movie’s theatrical run until television came along. So early nitrate prints were destroyed to extract their silver, and most of those that were saved decomposed in their cans.\u003c/p>\n\u003cp>Commercial movies are our cultural heritage. Now consider the other types of moving images created for a particular purpose and which are part of our larger, collective history: All the home movies, educational films and industrials (training and marketing films) that were (and are) chucked into dumpsters and landfills.\u003c/p>\n\u003cfigure id=\"attachment_13871111\" class=\"wp-caption aligncenter\" style=\"max-width: 1010px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet.jpeg\" alt=\"A man in uniform and a woman smile on Market Street in celebration.\" width=\"1010\" height=\"768\" class=\"size-full wp-image-13871111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet.jpeg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet-800x608.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/V-J-Day_1945_MarketStreet-768x584.jpeg 768w\" sizes=\"(max-width: 1010px) 100vw, 1010px\">\u003cfigcaption class=\"wp-caption-text\">V-J Day in 1945 on Market Street. \u003ccite>(Courtesy of Rick Prelinger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many years ago, on the other coast, Rick Prelinger began collecting discarded corporate and amateur films. They had outlived their original use, but I like to think that their afterlife—in the Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division and in the \u003ca href=\"https://archive.org/details/prelinger?tab=collection\" rel=\"noopener noreferrer\" target=\"_blank\">Prelinger Archives\u003c/a>—serves a greater purpose. Dip a toe into the digitized collection and see if you agree, when you resurface after three minutes or three hours.\u003c/p>\n\u003cp>For 14 years, Prelinger has compiled and hosted a public screening gleaned from his trove. \u003ca href=\"https://www.eventbrite.com/e/rick-prelingers-lost-landscapes-14-tuesday-wednesday-tickets-80603169249\" rel=\"noopener noreferrer\" target=\"_blank\">Lost Landscapes of San Francisco\u003c/a>, presented in collaboration with the Long Now Foundation and unspooling Dec. 10 and 11 at the Castro, revives and revisits our town as it was for most of the 20th century. (Post-1980s footage is too contemporary. Check back in 10 years.)\u003c/p>\n\u003cfigure id=\"attachment_13871109\" class=\"wp-caption aligncenter\" style=\"max-width: 1062px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Sky_Tram_Late_1950s.jpeg\" alt=\"A white aerial tram hangs from wires over rocks and surf below.\" width=\"1062\" height=\"762\" class=\"size-full wp-image-13871109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s.jpeg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-160x115.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-800x574.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-768x551.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Sky_Tram_Late_1950s-1020x732.jpeg 1020w\" sizes=\"(max-width: 1062px) 100vw, 1062px\">\u003cfigcaption class=\"wp-caption-text\">A late 1950s still of the Sky Tram (a short cable car aerial ride that traveled from the Cliff House to Point Lobos). \u003ccite>(Courtesy of Rick Prelinger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A benefit in part for the Prelinger Library, which Megan and Rick Prelinger founded in 2003, the Lost Landscapes show aims for more than a nostalgic immersion in—or communal wake for—the San Francisco of one’s youth (for natives) or hallowed arrival (for transplants). Instead of a church-quiet, old-school movie experience, Rick Prelinger encourages viewers to shout out the names of landmarks and locations, long-gone celebrities and local characters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sony’s animated short film about the beauty of black hair, \u003ca href=\"https://www.youtube.com/watch?v=kNw8V_Fkw28&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hair Love\u003c/em>\u003c/a>, just got uploaded to YouTube—and it couldn’t be more timely.\u003c/p>\n\u003cp>In late November, \u003ca href=\"https://variety.com/2019/tv/news/americas-got-talent-gabrielle-union-julianne-hough-toxic-culture-ousted-judges-1203417447/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reported\u003c/a> that Gabriel Union was told her hairstyles were “too black” while judging on \u003cem>America’s Got Talent. \u003c/em>And earlier this week, Senator Cory Booker introduced \u003ca href=\"https://www.thecrownact.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a bill\u003c/a> to ban discrimination against non-white hairstyles.\u003c/p>\n\u003cp>\u003cem>Hair Love\u003c/em>, a seven-minute short by Matthew A. Cherry, tells the story of Zuri, a gorgeous little girl with a big Afro. She needs some styling help from her doting dad for the first time, but he struggles to tame her curls. \u003cem>Hair Love\u003c/em>—also starring Issa Rae as Zuri’s mom—is about beauty, family and being there for the ones we love, no matter the challenge.\u003c/p>\n\u003cp>You can see the heartwarming film, which first hit theaters in August, in full below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kNw8V_Fkw28&feature=youtu.be\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sony’s animated short film about the beauty of black hair, \u003ca href=\"https://www.youtube.com/watch?v=kNw8V_Fkw28&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hair Love\u003c/em>\u003c/a>, just got uploaded to YouTube—and it couldn’t be more timely.\u003c/p>\n\u003cp>In late November, \u003ca href=\"https://variety.com/2019/tv/news/americas-got-talent-gabrielle-union-julianne-hough-toxic-culture-ousted-judges-1203417447/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reported\u003c/a> that Gabriel Union was told her hairstyles were “too black” while judging on \u003cem>America’s Got Talent. \u003c/em>And earlier this week, Senator Cory Booker introduced \u003ca href=\"https://www.thecrownact.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a bill\u003c/a> to ban discrimination against non-white hairstyles.\u003c/p>\n\u003cp>\u003cem>Hair Love\u003c/em>, a seven-minute short by Matthew A. Cherry, tells the story of Zuri, a gorgeous little girl with a big Afro. She needs some styling help from her doting dad for the first time, but he struggles to tame her curls. \u003cem>Hair Love\u003c/em>—also starring Issa Rae as Zuri’s mom—is about beauty, family and being there for the ones we love, no matter the challenge.\u003c/p>\n\u003cp>You can see the heartwarming film, which first hit theaters in August, in full below.\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/kNw8V_Fkw28'\n title='//www.youtube.com/embed/kNw8V_Fkw28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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