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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>Eight animated shorts exploring identity, interpersonal relationships and the ties that bind are lighting up Alamo Drafthouse for three days at the \u003ca href=\"https://www.animationshowofshows.com/\" target=\"_blank\" rel=\"noopener noreferrer\">21st Annual Animation Show of Shows\u003c/a>.\u003c/p>\n\u003cp>The carefully curated collection features work from filmmakers around the globe, and the final shortlist includes talent from seven different countries. One of the films, \u003cem>Daughter—\u003c/em>featuring puppet animation—has been shortlisted for this year’s Academy Awards. The program also includes mini-documentaries about animators Amit Cohen, Ido Shapira and Gil Alkabetz.\u003c/p>\n\u003cp>The full line-up is as follows:\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt0120040/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rubicon\u003c/em>\u003c/a> by Gil Alkabetz (Germany)\u003cbr>\n\u003ca href=\"https://www.youtube.com/watch?v=co2wd9ka2zw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Récit de soi (Self-Narrative)\u003c/em>\u003c/a> by Géraldine Charpentier (Belgium)\u003cbr>\n\u003ca href=\"https://idoshapiraart.com/hounds\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hounds\u003c/em>\u003c/a> by Amit Cohen and Ido Shapira (Israel)\u003cbr>\n\u003ca href=\"https://playkids.ch/presskit/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Kids\u003c/em> \u003c/a>by Michael Frei and Mario von Rickenbach (Switzerland)\u003cbr>\n\u003ca href=\"http://cine3d.ch/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Fox and the Bird (Le Renard et l’Oisille)\u003c/em> \u003c/a>by Sam and Fred Guillaume (Switzerland)\u003cbr>\n\u003ca href=\"http://dariakashcheeva.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Daughter\u003c/em>\u003c/a> by Daria Kashcheeva (Czech Republic)\u003cbr>\n\u003ca href=\"https://vimeo.com/channels/1407170/265919223\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Le Jour Extraordinaire (Flowing through Wonder)\u003c/em>\u003c/a> by Joanna Lurie (France)\u003cbr>\n\u003ca href=\"https://vimeo.com/nataliamirzoyan\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Five Minutes to Sea\u003c/em>\u003c/a> by Natalia Mirzoyan (Russia)\u003cbr>\n\u003cem>Portrait of Gil Alkabetz (Rubicon)\u003c/em> by Marta Trela (Germany)\u003cbr>\n\u003cem>Portrait of Amit Cohen and Ido Shapira (Hounds)\u003c/em> by Shlomi Yosef (Israel)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a taste of the program, watch the trailer below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G5cxE9CPaIs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Some years are devoted to preparation, others to reflection and contemplation. 2020 is going to be a year of action.\u003c/p>\n\u003cp>That’s the conclusion I draw from the \u003ca href=\"https://www.covenfilmfest.com\" rel=\"noopener noreferrer\" target=\"_blank\">Coven Film Festival\u003c/a>‘s pole position on the perennially packed Bay Area festival calendar. With its emphasis on networking, tools, support and inspiration, Coven aspires to be a launching pad for women and non-binary filmmakers. Its eager-beaver stake out of the first post-holiday weekend of the year (Jan. 10–12) is a veritable clarion call for anyone on its frequency.\u003c/p>\n\u003cp>The second-year festival boasts a new director of programming, Faridah Gbadamosi, who has shifted last year’s emphasis on short films to a balance of features and shorts programs. The theme connecting the various works is discernible from even a cursory glance at the lineup: The urgent lure of freedom—and the forces that arise in opposition.\u003c/p>\n\u003cfigure id=\"attachment_13872431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13872431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Haroula Rose’s ‘Once Upon a River,’ 2019. \u003ccite>(Courtesy of Coven Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haroula Rose’s \u003cem>Once Upon a River\u003c/em>, one of three narratives in the ambitious program, is a waterborne, ’70s-set road trip that compels its fleeing/seeking Native American protagonist to reconcile with the past even as she clears a path to her future. Jessica Ellis’s \u003cem>What Lies West\u003c/em> sets a newly minted college grad and her temporary teenage ward on a journey of liberation and, perhaps, transformation.\u003c/p>\n\u003cp>Special events include a master class in directing with actress-director Karen Allen, featuring her 2017 screen adaptation of Carson McCullers’ short story \u003cem>A Tree. A Rock. A Cloud\u003c/em>. The crowdfunding platform Seed & Spark hosts a workshop on connecting filmmakers with potential audiences, while a panel on creative distribution offers guidance for getting finished work out in the world. What’s that old line? Oh, yeah: Sisters are doing it for themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some years are devoted to preparation, others to reflection and contemplation. 2020 is going to be a year of action.\u003c/p>\n\u003cp>That’s the conclusion I draw from the \u003ca href=\"https://www.covenfilmfest.com\" rel=\"noopener noreferrer\" target=\"_blank\">Coven Film Festival\u003c/a>‘s pole position on the perennially packed Bay Area festival calendar. With its emphasis on networking, tools, support and inspiration, Coven aspires to be a launching pad for women and non-binary filmmakers. Its eager-beaver stake out of the first post-holiday weekend of the year (Jan. 10–12) is a veritable clarion call for anyone on its frequency.\u003c/p>\n\u003cp>The second-year festival boasts a new director of programming, Faridah Gbadamosi, who has shifted last year’s emphasis on short films to a balance of features and shorts programs. The theme connecting the various works is discernible from even a cursory glance at the lineup: The urgent lure of freedom—and the forces that arise in opposition.\u003c/p>\n\u003cfigure id=\"attachment_13872431\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg\" alt=\"\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13872431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Once-Upon-A-River_Still_01-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Haroula Rose’s ‘Once Upon a River,’ 2019. \u003ccite>(Courtesy of Coven Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haroula Rose’s \u003cem>Once Upon a River\u003c/em>, one of three narratives in the ambitious program, is a waterborne, ’70s-set road trip that compels its fleeing/seeking Native American protagonist to reconcile with the past even as she clears a path to her future. Jessica Ellis’s \u003cem>What Lies West\u003c/em> sets a newly minted college grad and her temporary teenage ward on a journey of liberation and, perhaps, transformation.\u003c/p>\n\u003cp>Special events include a master class in directing with actress-director Karen Allen, featuring her 2017 screen adaptation of Carson McCullers’ short story \u003cem>A Tree. A Rock. A Cloud\u003c/em>. The crowdfunding platform Seed & Spark hosts a workshop on connecting filmmakers with potential audiences, while a panel on creative distribution offers guidance for getting finished work out in the world. What’s that old line? Oh, yeah: Sisters are doing it for themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark",
"headTitle": "Harvey Weinstein Heads to Trial For Sex Crimes in a #MeToo Landmark | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VFX-wWVOyjc&feature=emb_logo\u003c/p>\n\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "It's the first criminal trial for Weinstein, whose alleged misconduct helped set off a movement. Now, the former producer faces five charges that may land him a long prison sentence in New York.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>Once one of Hollywood’s most powerful men, whose very reputation could help determine the fate of the films he financed, Harvey Weinstein is set for a starring role on a very different kind of stage: The former megaproducer’s criminal trial opens Monday in Manhattan, where Weinstein faces sexual assault charges that may land him in prison for a very long time.\u003c/p>\n\u003cp>More than 80 women have publicly accused Weinstein of various types of sexual misconduct since \u003cem>The \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em> and \u003cem>The \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">New Yorker\u003c/a>\u003c/em> published near-simultaneous bombshell reports more than two years ago. Those allegations, widespread as they were—dating back decades and including alleged incidents from \u003ca href=\"https://www.latimes.com/local/lanow/la-me-weinstein-lapd-20171102-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles\u003c/a> to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-41760069\" target=\"_blank\" rel=\"noopener noreferrer\">London\u003c/a>—helped ignite the \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\" target=\"_blank\" rel=\"noopener noreferrer\">#MeToo movement\u003c/a> calling attention to sexual assault.\u003c/p>\n\u003cp>But it was the Manhattan district attorney, \u003ca href=\"https://www.manhattanda.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyrus Vance\u003c/a>, who first made the move to charge Weinstein \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">in 2018\u003c/a>, eventually slapping the disgraced Oscar winner with five counts of sex crimes—including rape and predatory sexual assault—principally relating to two alleged victims in New York City.\u003c/p>\n\u003cp>The first incident involved Mimi Haleyi, a former production assistant at his old studio, the Weinstein Company. (That company is now dead—\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">declared bankrupt\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\" target=\"_blank\" rel=\"noopener noreferrer\">sold to\u003c/a> a private equity firm.) Haleyi says that in 2006, Weinstein invited her to his New York City home, where he pulled out her tampon and orally forced himself on her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">told reporters\u003c/a> in October 2017. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>The name of the alleged victim in the second incident, from 2013, has not been released.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VFX-wWVOyjc'\n title='//www.youtube.com/embed/VFX-wWVOyjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another alleged attack, dating to the winter of 1993-1994, became something of a flashpoint in the pretrial wrangling: Actress \u003ca href=\"https://www.newyorker.com/news/news-desk/weighing-the-costs-of-speaking-out-about-harvey-weinstein\" target=\"_blank\" rel=\"noopener noreferrer\">Annabella Sciorra\u003c/a> says Weinstein attacked her after a film industry dinner around that time. After the producer dropped her off at her apartment in Manhattan, Sciorra says that he reappeared at her door and pushed it open, overpowering and raping her once he had gotten inside.\u003c/p>\n\u003cp>The incident took place too long ago for prosecution under state law, but prosecutors pushed for Sciorra’s testimony to be included anyway over the objections of Weinstein’s legal team—and prosecutors \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">got their way\u003c/a>. She will be allowed to take the witness stand to bolster the case that Weinstein committed \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, which carries the longest possible sentence of his charges.\u003c/p>\n\u003cp>Weinstein, for his part, has pleaded not guilty to the charges, maintaining that everything that he did with these women and others was consensual.\u003c/p>\n\u003cp>While the case that heads to trial Monday is Weinstein’s first to include criminal charges, it is by no means the first case against the producer. Just last month, in fact, Weinstein and the board of his bankrupt film studio reached a tentative \u003ca href=\"https://www.npr.org/2019/12/11/787306873/harvey-weinstein-reaches-tentative-25-million-deal-to-settle-sex-claims\" target=\"_blank\" rel=\"noopener noreferrer\">$47 million deal \u003c/a>to settle their financial obligations—about $25 million of which would be earmarked for the accusers who filed lawsuits against him.\u003c/p>\n\u003cp>The settlement, which is still subject to approval by a judge, did not include any formal admission of wrongdoing or personal payments from Weinstein.\u003c/p>\n\u003cp>As for Weinstein’s criminal case in Manhattan, the producer has changed lawyers several times during his pretrial preparations. The first of his attorneys, Benjamin Brafman, staged an aggressive defense in the media. He warned that the #MeToo movement, while generally a positive development, also resulted in an unfair rush to judgment in Weinstein’s situation.\u003c/p>\n\u003cp>“When you have a #MeToo movement that pressures public officials to take certain action when perhaps it’s not warranted, then it gets to be very, very scary,” he told NPR \u003ca href=\"https://www.npr.org/2018/12/17/676803400/weinstein-seeks-dismissal-of-sexual-assault-case-in-possible-metoo-setback\" target=\"_blank\" rel=\"noopener noreferrer\">in late 2018\u003c/a>, while he was still representing Weinstein. “And I think that’s what happened here.”\u003c/p>\n\u003cp>Brafman and Weinstein officially \u003ca href=\"https://deadline.com/2019/01/harvey-weinstein-laywer-leaves-benjamin-brafman-criminal-trial-1202534787/\" target=\"_blank\" rel=\"noopener noreferrer\">parted ways\u003c/a> about a month after speaking with NPR. Donna Rotunno, a former prosecutor who joined Weinstein’s legal team \u003ca href=\"https://www.theguardian.com/film/2019/jul/11/harvey-weinstein-trial-legal-team-donna-rotunno\" target=\"_blank\" rel=\"noopener noreferrer\">last year\u003c/a>, has suggested she plans to pursue a similarly aggressive defense strategy, trying to prove that the women willingly took part in their contact with Weinstein.\u003c/p>\n\u003cp>“I can promise you there is a truth that you have not reported on; we’re here to uncover that truth,” Rotunno explained. “I think it’s going to be obvious that the relationships had with women in this case were quite consensual. We have a lot of documentation to back those things up.”\u003c/p>\n\u003cp>But first, before the opposing sides make their cases in court, a jury must be selected to hear those arguments—and that task won’t be easy in a case this well known.\u003c/p>\n\u003cp>“The issue is not necessarily finding the needle in the haystack—you know, the one person who has never heard of the Weinstein case. The odds of finding such a person are slim to none,” said Nancy Gertner, a former federal judge and author of a \u003ca href=\"http://www.nancygertner.com/content/law-juries-6th-edition\" target=\"_blank\" rel=\"noopener noreferrer\">book on jury selection\u003c/a>.\u003c/p>\n\u003cp>She says that instead, each side likely will be scrutinizing every potential juror for any sign of prejudice, such as strong feelings about the #MeToo movement or Weinstein personally.\u003c/p>\n\u003cp>“In other words, within the pool of people who have heard about him, there are distinctions to be made,” Gertner added. “And that’s where you have to find a fair jury.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That process is expected to last about two weeks. The entire trial could last six to eight. If Weinstein is convicted on the most serious charge, predatory sexual assault, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">he faces\u003c/a> a minimum sentence of 10 to 25 years in prison or a maximum of life.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Heads+To+Trial+For+Sex+Crimes+In+A+%23MeToo+Landmark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2020 Golden Globes Were Unusually Earnest, But Offered Few Surprises",
"headTitle": "The 2020 Golden Globes Were Unusually Earnest, But Offered Few Surprises | KQED",
"content": "\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8v6r6h8oAJw\u003c/p>\n\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-g44lDWyJC0\u003c/p>\n\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZU3Hq_UgHE4\u003c/p>\n\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We have this conversation every year, but that doesn’t mean it’s not true: It’s hard to know what to make of the Golden Globes telecast. We—and by “we” I mean most awards-watchers—hold a few truths to be self-evident: that the Globes are silly, that it’s nice to see people be praised for good work, and that the Globes (like most awards, unfortunately) do a pretty terrible job of rewarding people who do good work in an equitable way, which means even deserved wins can feel bittersweet.\u003c/p>\n\u003cp>What’s more, Sunday night’s awards didn’t do much to narrow down the Oscar contenders, if that’s your angle. In fact, the film awards were spread around among a lot of contenders that are expected to be kicking around when the nominees are announced on January 13. The best motion picture drama, generally considered the top prize, went to \u003cem>1917, \u003c/em>a film that’s not even widely available in theaters until this Friday. It’s a World War I epic made by best director winner Sam Mendes and cinematographer Roger Deakins to resemble one long and continuous shot, and while it’s on awards radar and has been for a while, it’s only in about 10 or so theaters nationwide right now. It can only feel strange to win your big award before your real opening day.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8v6r6h8oAJw'\n title='//www.youtube.com/embed/8v6r6h8oAJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, Quentin Tarantino’s \u003cem>Once Upon A Time … In Hollywood \u003c/em>started what could be a 2020 awards roll with wins for its screenplay, supporting actor Brad Pitt, and then the award for best musical or comedy film. Best actor in a drama went to Joaquin Phoenix for \u003cem>Joker\u003c/em>, and best actress to Renee Zellweger in \u003cem>Judy\u003c/em>. Best actor in a musical or comedy went to Taron Egerton, who played Elton John in \u003cem>Rocketman\u003c/em>, while best actress in a comedy (or a comedy-ish?) was Awkwafina in \u003cem>The Farewell\u003c/em>. Best supporting actress in a film was Laura Dern for \u003cem>Marriage Story\u003c/em>. And Bong Joon-ho’s stunning tale of class and family, \u003cem>Parasite\u003c/em>, was named best foreign language film—which it could very well pick up at the Oscars, too, along with a best picture nomination. That’s a lot of noise to sort through if you’re looking for a predictive signal. (Which you shouldn’t, really, since the Globes are given out by a bunch of journalists, none of whom are Oscar voters.)\u003c/p>\n\u003cp>The television haul was similarly scattered: HBO’s buzzy \u003cem>Succession \u003c/em>was best drama series, and \u003cem>Fleabag \u003c/em>was best comedy series. Honored actors included \u003cem>Succession\u003c/em>‘s Brian Cox, \u003cem>The Crown\u003c/em>‘s Olivia Colman, \u003cem>Fleabag\u003c/em>‘s Phoebe Waller-Bridge, and—delightfully—Ramy Youssef of the Hulu series \u003cem>Ramy\u003c/em>. (If you want a reason to root for the Globes, every now and then, they give an award to a new face on an underdog show precisely like \u003cem>Ramy\u003c/em>, and whether that should be a source of publicity or not, it generally is one.) Supporting winners in TV were \u003cem>Chernobyl\u003c/em>‘s Stellan Skarsgard and \u003cem>The Act\u003c/em>‘s Patricia Arquette. There were limited series wins for Russell Crowe in \u003cem>The Loudest Voice\u003c/em> and Michelle Williams as Gwen Verdon in \u003cem>Fosse/Verdon\u003c/em>, and \u003cem>Chernobyl \u003c/em>was best limited series or movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-g44lDWyJC0'\n title='//www.youtube.com/embed/-g44lDWyJC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are many deserving winners on this long (long) list, if few surprises other than Youssef—and perhaps \u003cem>1917\u003c/em>, simply because it’s not familiar to audiences yet. Still, the failure to nominate more than a handful of actors and creators of color—or any female directors in a year that offered a number of solid contenders—makes the wins themselves a little hollow.\u003c/p>\n\u003cp>What made this ceremony stand out was what a number of winners and honorees chose to do with their time, perhaps a reflection of the heavy news cycle of the last weeks, months, or years, depending on the matter at hand. Several speakers mentioned the fires burning in Australia and their link to climate change, and Arquette was explicit in talking about the need to vote in 2020. But perhaps Michelle Williams gave the most personal speech about a matter of concern, explaining that she could not have had the life she’s had if she hadn’t had the right to choose, as she put it, when to have her children and with whom. She addressed women “from 18 to 118” directly: “Vote in your own self-interest; it’s what men have been doing for years.”\u003c/p>\n\u003cp>But it wasn’t only when current events came up that the speeches were the best reason to watch. Tom Hanks received the Cecil B. DeMille Award, and he spoke at length about collaboration and professionalism in precisely the way you might want Tom Hanks to speak on those matters—right up to a mention of what he learned from Peter Scolari and Holland Taylor, two of his \u003cem>Bosom Buddies\u003c/em> co-stars back when he was just a pup. And Kate McKinnon presented the Carol Burnett Award, inaugurated just last year when it went to Burnett herself, to Ellen DeGeneres. McKinnon spoke of the way it felt to think she might be gay, and how much less scary that was after she saw DeGeneres come out on television.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZU3Hq_UgHE4'\n title='//www.youtube.com/embed/ZU3Hq_UgHE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bong Joon-ho used his time to tell Americans to get over the “one-inch-tall barrier of subtitles” and open up a whole world of film. Skarsgard talked about how he doesn’t have noticeable eyebrows. Colman noted how many famous people she’d been pointing out from her table. Presenter Tiffany Haddish not only cheered on Michelle Williams, but she \u003ca href=\"https://twitter.com/johnjurg/status/1214023857847320576\">put mustard\u003c/a> on the word “Chernobyl” that it’s probably never had before.\u003c/p>\n\u003cp>Oh, and also: The less said the better about the surly, resentful, too-cool-to-put-in-any-effort hosting turn from Ricky Gervais, who swears that his fifth time hosting the Golden Globes—which he always insists he’s not a natural candidate to do at all, repeat invitations and acceptances of those invitations aside—will be his last. Let’s hope so.\u003c/p>\n\u003cp>It wasn’t the tipsy, silly Globes ceremony we’ve sometimes had in the past—but then, we don’t live in the world we did then, either. Maybe we’ll never see \u003ca href=\"https://www.theguardian.com/film/video/2014/jan/13/golden-globes-2014-emma-thompson-barefoot-video\">Emma Thompson toss her Louboutins away\u003c/a> again, and more’s the pity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All in all, a surprisingly earnest evening that continued some narratives that already had forward momentum. Yes, Joaquin Phoenix is a powerful pick for \u003cem>Joker\u003c/em>, \u003cem>Once Upon A Time \u003c/em>is going strong, and Tom Hanks becoming overwhelmed with emotion is just about all we can take on a Sunday night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%271917%27+Wins+At+The+Golden+Globes%2C+Before+Most+People+Can+Even+See+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "marvel-cinematic-universe-to-get-first-trans-character",
"title": "Marvel Cinematic Universe to Get First Trans Character",
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"content": "\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1395&v=d_P8V6KPnoc&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Marvel Cinematic Universe is expanding, and soon fans will see a transgender character.\u003c/p>\n\u003cp>At an event Saturday at the New York Film Academy, the president of Marvel Studios was asked whether there were plans to bring “more LGBT+ characters” into the Marvel universe, “specifically the T, trans characters?”\u003c/p>\n\u003cp>“Yes, absolutely, yes,” Marvel Studios president Kevin Feige \u003ca href=\"https://youtu.be/d_P8V6KPnoc?t=1395\" target=\"_blank\" rel=\"noopener noreferrer\">responded\u003c/a>. “And very soon—in a movie that we’re shooting right now.” Feige didn’t go into details, such as what superpower the character might have, or which movie the character would appear in.\u003c/p>\n\u003cp>Marvel is currently shooting \u003cem>The Eternals\u003c/em>, which \u003ca href=\"https://people.com/movies/marvel-the-eternals-character-will-be-gay/\" target=\"_blank\" rel=\"noopener noreferrer\">will feature\u003c/a> its first gay character, and its first deaf superhero. And the next installment in the Thor franchise will see Tessa Thompson playing Valkyrie, who will have an LGBT storyline. “As a new king, she needs to find her queen,” Thompson \u003ca href=\"https://io9.gizmodo.com/its-official-valkyrie-will-be-the-mcus-first-lgbtq-her-1836569528\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a>.\u003c/p>\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/d_P8V6KPnoc'\n title='//www.youtube.com/embed/d_P8V6KPnoc'\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>Marvel made history in 2018 when it released \u003cem>Black Panther\u003c/em>, the first mainstream superhero movie featuring black superheroes and a mostly black cast. “\u003cem>Black Panther\u003c/em> is a story we haven’t seen told before in popular cinema—a story about black people completely untouched by colonialism, who exist entirely outside the global systems of institutionalized racism,” \u003ca href=\"https://www.npr.org/2018/02/12/585006605/black-panther-is-a-superhero-story-you-havent-seen-before-and-its-thrilling\" target=\"_blank\" rel=\"noopener noreferrer\">wrote NPR’s Glen Weldon\u003c/a> at the time.\u003c/p>\n\u003cp>“It’s a fantasy, in other words—but then, that’s exactly what superhero stories are for,” Weldon said. “It’s difficult to explain the simple, inspiring and empowering joy of seeing a version of oneself onscreen, to those who’ve spent their lives unthinkingly soaking in it.”\u003c/p>\n\u003cp>In last year’s \u003cem>Captain Marvel\u003c/em>, Brie Larson played the eponymous character, who (spoiler alert) turns out to be one of the most powerful characters in the entire Marvel universe. She was the second woman in the Marvel universe to lead her own movie—or, as film critic \u003ca href=\"https://www.npr.org/2019/03/08/701480772/captain-marvel-falls-short-of-instilling-its-heroine-with-a-distinctive-personal\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Chang wrote\u003c/a>, the \u003cem>first \u003c/em>“assuming you don’t count the ill-fated 2005 Jennifer Garner vehicle, \u003cem>Elektra\u003c/em>.”\u003c/p>\n\u003cp>With \u003cem>Black Panther\u003c/em> and \u003cem>Captain Marvel\u003c/em>, “we wanted to keep showcasing heroes from the comics that represent the world that goes to see our movies,” Feige said. “So our intention was always to continue to do that.” Both of those movies were so successful, Feige said, that they “have inspired other companies around the world to do the same thing and tell those different types of stories.”\u003c/p>\n\u003cp>Marvel wouldn’t be the first studio to feature a transgender superhero. That distinction belongs to CW’s \u003cem>Supergirl\u003c/em>, which in 2018 cast the \u003ca href=\"https://www.npr.org/2018/07/23/631693257/supergirl-casts-first-transgender-superhero-on-television\" target=\"_blank\" rel=\"noopener noreferrer\">first transgender superhero\u003c/a> to be featured in a television show. Nicole Maines plays Nia Nal, who came out last year as a transgender woman named Dreamer who is half-alien and half-human. “That inadvertently [broke] the fourth wall because as Nia’s doing that, so am I,” Maines told \u003ca href=\"https://ew.com/tv/2019/06/14/supergirl-nicole-maines-dreamer/\" target=\"_blank\" rel=\"noopener noreferrer\">Entertainment Weekly\u003c/a>. “I’m going on television and declaring my identity as a trans woman, proudly, unapologetically, and in hopes of inspiring people.” The increasing representation of trans people in media has “taught me there are people in Hollywood who care,” Maines said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Feige told the New York Film Academy audience that Marvel tries to encourage diversity behind the camera as well. “Both films we have coming out in 2020 are directed by women,” as are multiple Disney+ shows, he said. “It makes for better stories,” he continued. “When you’re sitting at a table … if everybody looks like you, you’re in trouble. You’re not going to get the best story out of that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Marvel+Cinematic+Universe+To+Get+First+Trans+Character&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\u003c/p>\n\u003cp>https://youtu.be/vTfJp2Ts9X8\u003c/p>\n\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adam Sandler has been playing jerks and sleazebags for most of his career, but until now his movies didn’t make a habit of acknowledging it. So it’s exhilarating to watch \u003cem>Uncut Gems\u003c/em>, a gritty indie funhouse ride that sets Sandler loose in a world just as manic and angry as his character—a world in which his absurd, impulsive actions have real consequences. Like every straight male under the age of 40, the writer-director brothers Benny and Josh Safdie grew up with the sound of Sandler’s screech in their brains. Here they’ve cracked the code for how to build a riveting story around it, and Sandler himself—in a ratty goatee, designer clothes, and lounge-lizard earrings — has never looked so alive.\u003c/p>\n\u003cp>We’re in the New York Diamond District, the domain of Sandler’s Howard Ratner, a scheming jeweler and compulsive gambler whose high-risk life choices create a lot of unnecessary problems. Already deeply in debt, Howie pawns another man’s collateral on a priceless item to get enough money to place another sports bet; he neglects his wife (Idina Menzel) and family to have an affair with his much younger employee (Julia Fox); and he screws over friend and foe alike with empty promises and IOUs, even as he hoards what little cash he makes for his own schemes. This is an underworld that runs on crass materialism and smokescreens, where rare minerals share a display case and a bartering currency with fake Rolexes, and every space Howie enters seems to be literally glittering with both promise and instability. But he does have a soul buried under that flashy grin, if he can ever figure out who it’s in service of.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vTfJp2Ts9X8'\n title='//www.youtube.com/embed/vTfJp2Ts9X8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As filmmakers, the Safdies are uniquely attuned to street-level dramas on the margins, but they’re also savvy students of genre, and so of course their movie about a jeweler pivots around a shiny MacGuffin. Howie has procured an ultra-rare opal from an Ethiopian diamond mine (it’s sent to him stuffed inside a frozen fish for safekeeping) and plans to put it up at auction for north of a million dollars. But that’s before Kevin Garnett walks into his life. The NBA star (playing himself in his prime, in a Hall of Fame performance for celebrity non-actors) is entranced by the opal, seeing visions of himself in its prism of pure light and color. This is the most elementary appeal of jewelry, after all, and the Safdies literally plunge us inside the radiant visions this stone induces, visualizing the geological perfection that makes so many sane people do crazy things. KG himself knows \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\">anything is possible\u003c/a>.\u003c/p>\n\u003cp>Garnett convinces Howie to let him borrow the stone as a good-luck charm while he plays the 2012 NBA semifinals, thus setting off a chain of events that will leave Howie scrambling to stay one step ahead of the debts he owes even as he accumulates more. What’s great about Sandler’s work here is that, the further he sinks into the muck, the more confident he becomes. He juggles the many, many threats on his life so that he becomes the ringleader of his own circus, gleefully lying through his teeth, spinning verbal patter and slipping into deep, guttural fits of rage when his ducks don’t line up precisely. Even the scenes of him watching basketball are riveting. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Uncut Gems\u003c/em> follows the mold of the Safdies’ previous effort, \u003cem>Good Time\u003c/em>, another breakneck New York tale about a guy with a gift for making bad situations worse. These kinds of movies are liable to cause heart palpitations. They shoot their spiralling heroes in tight, claustrophobic close-ups (although cinematographer Darius Khondji is also a fan of security-camera-style overhead zooms) and edit their journeys to induce constant whiplash, with an eye for the tactile qualities of every face, jewel and carpeted backroom. They also know precisely which buttons to push in their audience: using borrowed time to double down on bad bets is not for those who crave order in their lives. \u003c/p>\n\u003cp>But \u003cem>Gems\u003c/em> also wraps up its most high-wire scenes in some amazing comic setpieces. A malfunction in Howie’s security door traps Garnett and his fixer (LaKeith Stanfield) behind bulletproof glass for several minutes. When some collectors pay a visit to Howie during his daughter’s school play, they beat him, strip him naked and shove him into the trunk of his car, layering on the humiliations in compounded interest. The movie understands the comic (and cosmic) power of making the world’s best bluffer run straight off a cliff.\u003c/p>\n\u003cp>Of course, thanks to fare like \u003cem>Punch-Drunk Love\u003c/em>, we’ve known Sandler was always capable of a performance like this. But it feels even sweeter plopped into his extended late-career phase of lazy cash-cow comedies. After all, this character’s worldview is the product of a bottomless tackiness and naked desire for profit, a middle-aged man who wants the world to know what he thinks he’s worth. There’s not much daylight between Howie hawking a bedazzled Furby to star athletes and the real Sandler roping Al Pacino into a \u003ca href=\"https://www.youtube.com/watch?v=AeLuQQH1OHA\" target=\"_blank\" rel=\"noopener noreferrer\">retina-scarring Dunkin’ Donuts commercial\u003c/a>. What’s different is the self-reflection, the knowledge that bending the world to your will over and over is going to piss off everyone around you. This is what the actor and the film do so well in concert with each other. It’s the right movie for the right person at the right time, a thing of strange beauty forged under a mountain of heat, pressure and irritation. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2020 \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How 'Little Women' Remained a Cultural Touchstone for Over 150 Years",
"headTitle": "How ‘Little Women’ Remained a Cultural Touchstone for Over 150 Years | KQED",
"content": "\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Louisa May Alcott's \"Little Women\" continues to find an audience in those eager for nuanced portrayals of girlhood. New York's ALL ARTS asked experts why.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13872154\" class=\"wp-caption alignright\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg\" alt=\"Louisa May Alcott\" width=\"595\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/595px-Louisa_May_Alcott-160x207.jpg 160w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">Louisa May Alcott \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With every cover of “Little Women” turned, readers have been greeted with the same scene. It’s Christmas time and the March sisters haven’t the money for presents. With this predicament weighing heavily, the sisters take turns spinning through their options, revealing just enough to offer a snow-globe’s glance into the distinct personalities that have, over generations, served as faithful guides along the journey from adolescence to womanhood.\u003c/p>\n\u003cp>Penned by \u003ca href=\"https://allarts.org/programs/american-masters/louisa-may-alcott-the-woman-behind-little-women-tcqeqd/\">Louisa May Alcott\u003c/a> in 1868, “Little Women” continues to find audiences eager for these nuanced portrayals of girlhood — a depiction that was lacking in popular literature when Alcott was approached to write the tale. The story has since been \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">adapted\u003c/a> for the stage, screen and page, while also garnering the \u003ca href=\"https://www.newyorker.com/magazine/2018/08/27/how-little-women-got-big\" target=\"_blank\" rel=\"noopener noreferrer\">adoration of luminaries\u003c/a> such as Simone de Beauvoir, Elena Ferrante and Gloria Steinem.\u003c/p>\n\u003cp>Yet when asked by her publisher to write the book, \u003ca href=\"http://www.newenglandhistoricalsociety.com/louisa-may-alcott-never-liked-girls-knew-many-except-sisters/\" target=\"_blank\" rel=\"noopener noreferrer\">Alcott hesitated\u003c/a>. In a diary entry, Alcott writes that she “never liked girls or knew many, except my sisters,” going on to note that the sisters’ “queer plays and experiences may prove interesting, though I doubt it.”\u003c/p>\n\u003cp>As it turned out, the trials of Alcott and her sisters, who informed the creation of March siblings Meg, Jo, Beth and Amy, did pique the interest of audiences. Originally published in two parts, the story took popular culture by storm, \u003ca href=\"https://www.vulture.com/2019/12/little-women-history-timeline.html\" target=\"_blank\" rel=\"noopener noreferrer\">selling out its original 2,000 print-run\u003c/a> shortly after it landed on the shelves.\u003c/p>\n\u003cp>“I think that ‘Little Women’ — and actually the real Alcott family who are the models for the March family — embody a spirit that people really identify with no matter what culture or age,” said Jan Turnquist, executive director of the \u003ca href=\"https://louisamayalcott.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Orchard House\u003c/a>, \u003ca href=\"https://allarts.org/programs/little-women/house-little-women-ney9fp/\">where Alcott wrote the novel\u003c/a>. “And that is the idea of personal agency and sort of perseverance through whatever life brings. And also a sense that you don’t have to be perfect. You can be flawed. You can make mistakes. You can fix those or at least find a way to continue on beyond the mistakes. It’s very, very uplifting to think that way.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Little Women: The House of Little Women\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/NU0c3atfeC0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Since its publication, the title has not gone out of print once — a feat that Lynn Lobash, the \u003ca href=\"https://www.nypl.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Public Library\u003c/a>’s associate director of reader services, attributes to themes central to the novel, which she describes as “the role of women in family, society and gender stereotypes.” Echoing Lobash, Susanne Simpson, executive producer of Masterpiece (which recently adapted the book for PBS), stated that the book endures because of its “humanity and universal truths, such as love, grief and courage.”\u003c/p>\n\u003cp>“One can return again and again to the story over the course of a lifetime and find something new that resonates,” Simpson continued. “And the character of Jo March is so appealing because of her fierce independent spirit and persistent desire to voice her ideas through her writing.”\u003c/p>\n\u003cp>Though context has changed throughout the years, the March sisters have served as stewards of these themes. \u003ca href=\"https://anneboydrioux.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Boyd Rioux\u003c/a>, author of the book “\u003ca href=\"https://www.indiebound.org/book/9780393357271\" target=\"_blank\" rel=\"noopener noreferrer\">Meg, Jo, Beth, Amy\u003c/a>,” proposed that part of the novel’s endurance can be traced to the March sisters’ struggle to find their place in society as women with ambitions outside of what is strictly expected of them.\u003c/p>\n\u003cp>“The story is not really dated,” Rioux said. “The trappings might be a bit different — maybe they do different things, they wear different clothes. But the struggles they’re going through are the same things we still go through now.”\u003c/p>\n\u003cfigure id=\"attachment_13872150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LW-Mid-e1577732826694.jpeg\" alt=\"Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Florence Pugh, Saoirse Ronan and Emma Watson in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But how audiences have engaged with the text, Rioux explained, has evolved over time, taking on new meanings as it finds its way into new generations.\u003c/p>\n\u003cp>“For me, you can see how the cultural context really shapes how people approach a book,” Rioux said. “And because this book has been adapted so many times — it’s been on stage; it’s been made into an opera, a musical. It’s been made into films, to various mini-series. … It’s one of those stories that has taken on a larger life beyond what Louisa May Alcott ever envisioned.”\u003c/p>\n\u003cp>Arguably, the various adaptations over the years have helped to sustain the momentum of the book and bring it into cultural awareness anew. With the recent release of \u003ca href=\"https://slate.com/culture/2019/12/little-women-movie-book-comparison-differences.html\" target=\"_blank\" rel=\"noopener noreferrer\">Greta Gerwig’s adaptation\u003c/a>, the New York Public Library has seen a slight uptick in checkouts of the book (though, a representative noted that the title typically sees spikes throughout the year, particularly when students head back to school in September). At Orchard House, Turnquist stated that she believes interest in is also up, and she expects that to only increase with the film’s release. And Rioux posited that while \u003ca href=\"https://lithub.com/why-dont-more-boys-read-little-women/\" target=\"_blank\" rel=\"noopener noreferrer\">readership of the book has been decreasing over the years\u003c/a>, she believes the film will help introduce new readers to the fold.\u003c/p>\n\u003cp>“Both ways of experiencing this story are important, certainly for the cultural life of a text like this,” Rioux said. “If a book isn’t adapted into films, it doesn’t have as much saturation into the culture; it doesn’t seep into the culture as much. And this is a story and these are characters who, I think, are such important touchstones for women that they deserve that larger cultural treatment. And they definitely deserve this masterful piece of art that Greta Gerwig has produced.”\u003c/p>\n\u003cfigure id=\"attachment_13872147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/LittleWomenTCSR-e1577732754709.jpeg\" alt=\"Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.”\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Saoirse Ronan and Timothée Chalamet in Greta Gerwig’s “Little Women.” \u003ccite>(Wilson Webb / Sony Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While reviews for Gerwig’s adaptation continue to roll in, the film has already been lauded for its cinematic acheivements and its portrayal of Jo March, who stands as a fictionalized version of Alcott. In her version, Gerwig eschews heavy focus on the romantic plot line often central to film adaptations to elevate Jo’s drive to become a writer.\u003c/p>\n\u003cp>“I thought [the film] had a very modern message about finding your way in the world and not giving up on your dreams, the things that you want to pursue,” Rioux said about Gerwig’s nuanced depiction of the book’s central conflicts. “And really about how difficult it is to tell stories about women that aren’t solely directed at finding them a man, that aren’t just about romance.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Want more? Check out \u003ca href=\"https://allarts.org/2018/12/who-adapted-louisa-may-alcotts-little-women-best/\">Who Adapted Louisa May Alcott’s “Little Women” Best\u003c/a> on ALL ARTS. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Of the 92 submissions accepted for Best International Feature Film (the Oscar formerly known as Best Foreign Language Film), Bong Joon Ho’s \u003cem>Parasite\u003c/em> is by far the most widely seen. In fact, it’s so admired that the South Korean stunner has an excellent shot at vaulting into the Best Director and Best Picture categories.\u003c/p>\n\u003cp>The only other submission with significant U.S. visibility is Pedro Almodóvar’s \u003cem>Pain and Glory\u003c/em>, which means there are 90 excellent movies from around the globe awaiting your discovery. Intrigued? Fifteen (including the Almodóvar) screen Jan. 3-9 in the annual \u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">For Your Consideration\u003c/a> series at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>Some of the titles chosen by curators João Federici and Karen Davis will receive theatrical releases: Brazil’s separated sisters saga \u003cem>Invisible Life\u003c/em> opens Jan. 3, Italy’s Cosa Nostra history \u003cem>The Traitor\u003c/em> arrives Feb. 7, and Russia’s post-war portrait \u003cem>Beanpole\u003c/em> and Sweden’s gay-themed \u003cem>And Then We Danced\u003c/em> both open Feb. 21. The Czech Republic’s \u003cem>The Painted Bird\u003c/em>, adapted from Jerzy Kozinski’s novel, will probably find its way into theaters. In addition, the U.K.’s Malawi-set \u003cem>The Boy Who Harnessed the Wind\u003c/em> is on Netflix. (To be sure, it’s an even more powerful experience on the big screen.)\u003c/p>\n\u003cfigure id=\"attachment_13872181\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/antigone_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Antigone.’ \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it’s a coincidence (spoiler: it’s not) that a trio of acclaimed dramas propelled by female protagonists don’t have U.S. distribution. Algeria’s \u003cem>Papicha\u003c/em> (Jan. 8, with a Jan. 19 screening at the Roxie) follows a young woman’s determined pursuit of a fully expressed life and career in dangerous times. For Your Consideration may be your only chance to see Canada’s \u003cem>Antigone\u003c/em> (Jan. 8), which transposes Sophocles’ female-fueled tragedy to present-day Montreal. Ditto for Morocco’s \u003cem>Adam\u003c/em> (Jan. 9), which portrays the unexpected connection between a grief-paralyzed widow and a pregnant homeless woman.\u003c/p>\n\u003cp>Five of the Smith Rafael’s 15 selections—\u003cem>The Painted Bird\u003c/em>, \u003cem>Beanpole\u003c/em>, \u003cem>Pain and Glory\u003c/em>, \u003cem>Parasite\u003c/em> and Hungary’s \u003cem>Those Who Remained\u003c/em> (Jan. 5)—made the 10-film shortlist for the Academy Award. While that’s one measure of Davis and Federici’s handicapping skills, I mention it primarily for those who take their Oscar preparations very, very seriously.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of the 92 submissions accepted for Best International Feature Film (the Oscar formerly known as Best Foreign Language Film), Bong Joon Ho’s \u003cem>Parasite\u003c/em> is by far the most widely seen. In fact, it’s so admired that the South Korean stunner has an excellent shot at vaulting into the Best Director and Best Picture categories.\u003c/p>\n\u003cp>The only other submission with significant U.S. visibility is Pedro Almodóvar’s \u003cem>Pain and Glory\u003c/em>, which means there are 90 excellent movies from around the globe awaiting your discovery. Intrigued? Fifteen (including the Almodóvar) screen Jan. 3-9 in the annual \u003ca href=\"https://rafaelfilm.cafilm.org/for-your-consideration-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">For Your Consideration\u003c/a> series at the Smith Rafael Film Center in San Rafael.\u003c/p>\n\u003cp>Some of the titles chosen by curators João Federici and Karen Davis will receive theatrical releases: Brazil’s separated sisters saga \u003cem>Invisible Life\u003c/em> opens Jan. 3, Italy’s Cosa Nostra history \u003cem>The Traitor\u003c/em> arrives Feb. 7, and Russia’s post-war portrait \u003cem>Beanpole\u003c/em> and Sweden’s gay-themed \u003cem>And Then We Danced\u003c/em> both open Feb. 21. The Czech Republic’s \u003cem>The Painted Bird\u003c/em>, adapted from Jerzy Kozinski’s novel, will probably find its way into theaters. In addition, the U.K.’s Malawi-set \u003cem>The Boy Who Harnessed the Wind\u003c/em> is on Netflix. (To be sure, it’s an even more powerful experience on the big screen.)\u003c/p>\n\u003cfigure id=\"attachment_13872181\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/antigone_still_1200.jpg\" alt=\"\" width=\"1200\" height=\"647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/antigone_still_1200-1020x550.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Antigone.’ \u003ccite>(Courtesy of California Film Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it’s a coincidence (spoiler: it’s not) that a trio of acclaimed dramas propelled by female protagonists don’t have U.S. distribution. Algeria’s \u003cem>Papicha\u003c/em> (Jan. 8, with a Jan. 19 screening at the Roxie) follows a young woman’s determined pursuit of a fully expressed life and career in dangerous times. For Your Consideration may be your only chance to see Canada’s \u003cem>Antigone\u003c/em> (Jan. 8), which transposes Sophocles’ female-fueled tragedy to present-day Montreal. Ditto for Morocco’s \u003cem>Adam\u003c/em> (Jan. 9), which portrays the unexpected connection between a grief-paralyzed widow and a pregnant homeless woman.\u003c/p>\n\u003cp>Five of the Smith Rafael’s 15 selections—\u003cem>The Painted Bird\u003c/em>, \u003cem>Beanpole\u003c/em>, \u003cem>Pain and Glory\u003c/em>, \u003cem>Parasite\u003c/em> and Hungary’s \u003cem>Those Who Remained\u003c/em> (Jan. 5)—made the 10-film shortlist for the Academy Award. While that’s one measure of Davis and Federici’s handicapping skills, I mention it primarily for those who take their Oscar preparations very, very seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not remotely surprising that so many people pick Will Ferrell, the Muppets, Jimmy Stewart or Ralphie as their holiday-movie favorite over Ingmar Bergman. How many feel-good films did the relentlessly probing Swedish writer-director make? Almost none. And Christmas movies are, above all, fantasies—of family reconciliation, childhood triumph and unconditional love (and other non-material gifts).\u003c/p>\n\u003cp>Bergman’s autobiographical, bittersweet \u003cem>Fanny and Alexander\u003c/em> cuts deeper than any other movie involving the holiday season, and its pleasures are greater. Unfolding at the turn of the last century, the film depicts a pivotal year in the life of 10-year-old Alexander and his younger sister. Bergman’s command is such that the proceedings are both piercingly realistic and infused with a boy’s surreal fears and wish-dreams.\u003c/p>\n\u003cfigure id=\"attachment_13872090\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg\" alt=\"\" width=\"1200\" height=\"796\" class=\"size-full wp-image-13872090\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Bergman_Fanny-and-Alexander_004_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ingmar Bergman, Still from ‘Fanny and Alexander,’ 1983. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released in an edited form as a three-hour theatrical film in 1982, the entire piece was broadcast the following year on Swedish television as a five-plus-hour limited miniseries (to use today’s jargon). It’s the latter version that screens Thursday, Dec. 26 at \u003ca href=\"https://bampfa.org/event/fanny-and-alexander\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>. A family saga which veers from cheery warmth to frigid autocracy before the pendulum thankfully swings back, \u003cem>Fanny and Alexander\u003c/em> is the rare epic whose emotional power matches its ambition and production design.\u003c/p>\n\u003cp>Heralded at the time as Bergman’s retirement from cinema—it wasn’t, as it turned out—and therefore the capstone of his career, \u003cem>Fanny and Alexander\u003c/em> does foreground two of the artist’s central yet contradictory passions: The magical intersection of theater, illusion and imagination, and the mysterious, cruel role in which God is cast in many homes. Coincidentally, both faith and the theater are profoundly demanding.\u003c/p>\n\u003cp>\u003cem>Fanny and Alexander\u003c/em> is a rich and remarkable work of art that, believe it or not, contains more than a wisp of family reconciliation, childhood triumph and unconditional love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\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>\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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"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. ",
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"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. ",
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"marketplace": {
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"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",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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