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"content": "\u003cp>Actor Reese Witherspoon became famous in her 20s after starring in films like \u003cem>Election \u003c/em>and \u003cem>Legally Blonde\u003c/em>, but by the time she entered her 30s, the film landscape had shifted. DVD sales had shrunk and smaller, female-centered movies were in short supply. It was nearly impossible to find good leading roles for women.\u003c/p>\n\u003cp>Witherspoon began asking different movie studios what projects they were developing for women. “With the exclusion of one studio, everybody said ‘Nothing. Nothing with a female lead,’ ” she says.\u003c/p>\n\u003cp>So Witherspoon decided to start a production company and began adapting books with complex female characters into films and TV shows. The idea was to create better parts for women—and to help female authors get their stories sold.\u003c/p>\n\u003cp>Witherspoon’s company spearheaded the adaptation of \u003ca href=\"https://www.npr.org/2014/09/30/352688538/gone-girl-a-missing-wife-and-a-cloud-of-suspicion\">\u003cem>Gone Girl\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2014/12/05/367996411/a-wild-trek-made-a-bit-too-neatly\">\u003cem>Wild \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy\">\u003cem>Big Little Lies\u003c/em>\u003c/a>\u003cem>, \u003c/em>among other titles. Looking back, Witherspoon describes her shift into producing as “betting on myself.”\u003c/p>\n\u003cp>“I know what to do,” she says. “I know every producer in Hollywood. I know how to get a movie from book to script to screen, and I know how to market it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now Witherspoon’s current company, Hello Sunshine, is bringing a new project to screen. She’s an executive producer and co-star of the Apple TV+ series, \u003ca href=\"https://www.npr.org/2019/10/31/774850935/tv-review-the-morning-show-from-apple-tv\">\u003cem>The Morning Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>which centers on a morning news show that’s shaken up when its male anchor is fired after being accused of sexual misconduct.\u003c/p>\n\u003cp>Witherspoon acknowledges certain parallels between the misconduct portrayed in the series and the allegations against real-life TV hosts \u003ca href=\"https://www.npr.org/2019/10/09/768527936/matt-lauer-accused-of-rape-in-new-book-former-nbc-star-denies-false-stories\">Matt Lauer\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/19/524736631/bill-oreilly-is-out-at-fox-news\">Bill O’Reilly\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">Charlie Rose.\u003c/a>\u003c/p>\n\u003cp>“We thought it would have been remiss if we didn’t address [those issues] in our show,” she says. “Sometimes the world is so crazy, TV shows and movies are a great way to try and understand where we’re at.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eA7D4_qU9jo\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo\u003c/strong>\u003c/a>\u003cstrong> movement, and being shocked to learn of the extent of sexual misconduct in Hollywood\u003c/strong>\u003c/p>\n\u003cp>I didn’t have any idea what other people’s experiences were. I’d only had my own experiences, and I definitely dealt with harassment. And I had dealt with that privately and in my own way with my family when I was young, when I was really young and starting in the business. I didn’t have any understanding of the widespread abuse that women were experiencing—and not just women, many, many people were experiencing.\u003c/p>\n\u003cp>It really took that moment in time for all of us to start talking. Because you have to remember, as an actress for hire, usually I was the only woman on a set for, I would say, the majority of my 30-year career. I’ve been the only woman in a cast or one of a handful of women in a crew or a cast. So when all of that started happening, women started to gather and really start talking to each other and sharing stories. And I have to say, I was blown away. I did not know the kind of experiences that people were having. And I was in shock. I think a lot of us were in shock. …\u003c/p>\n\u003cp>I’m enormously grateful to the women who spoke up about their experiences and really opened our hearts and our minds and our eyes to what was happening with such regularity, and the journalists who worked so hard to break these stories, despite whatever corporate interference they were having. I’m just enormously grateful to \u003ca href=\"https://www.npr.org/2019/10/15/770249717/ronan-farrow-catch-and-kill-tactics-protected-both-weinstein-and-trump\">Ronan \u003c/a>[Farrow] and \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">Jodi \u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">[Kantor]\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">and Megan\u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\"> [Twohey]\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>On figuring out how and when she wants to share her own experiences with sexual harassment and assault\u003c/strong>\u003c/p>\n\u003cp>I haven’t ever really spoken about it. I’ve been asked about it a lot, which really brings up a lot of questions for me about how do you decide when you want to talk about it, how you want to talk about it? … This is just me, my personal experience. How can I use that not to garner sympathy but to actually promote change and highlight industry standards that are not good enough?\u003c/p>\n\u003cp>It was very powerful to me to share my story with a like-minded group of women with the Time’s Up movement. We talked about ways that we could really encourage change. How could we raise money for women in other industries so that they would have legal help?\u003c/p>\n\u003cp>I had specific experiences and I dealt with them with a therapist. It’s been ongoing, honestly. The whole thing brought up a lot of feelings for me, and it was a really emotional experience that I don’t feel resolved about, and I think I will probably talk about it, but right now I don’t have all the right words.\u003c/p>\n\u003cp>\u003cstrong>On why her mid-30s were a turning point in her career \u003c/strong>\u003c/p>\n\u003cp>People always say, “After you won the Oscar, did your whole career change?” There wasn’t suddenly this huge influx of scripts. … There’s not a secret safe they’re keeping the great scripts and they unlock you when you win awards! I was lucky to do a couple of great movies in my 30s, but not a lot. …\u003c/p>\n\u003cp>\u003cem>Wild \u003c/em>was a big deal for me, because first of all, I love \u003ca href=\"https://www.npr.org/2013/09/08/219754257/the-wild-story-of-cheryl-strayed-and-her-long-lost-half-sister\">Cheryl Strayed\u003c/a>‘s writing, her memoir’s beautiful, but it’s also woman vs. nature, which I had never really seen on film. And so many women are so deeply connected to nature, yet it’s not something we’ve explored. We’ve seen every iteration of a man vs. a bear, vs. the Wild West, on hiking adventures, but I haven’t seen a lot of a woman alone on film as well, and what is that singular journey for a woman to find herself alone in the wilderness?\u003c/p>\n\u003cp>\u003cstrong>On singing for her role as \u003c/strong>\u003ca href=\"https://freshairarchive.org/segments/jumping-through-ring-fire\">\u003cstrong>June Carter Cash\u003c/strong>\u003c/a>\u003cstrong> in \u003c/strong>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5015873\">\u003cstrong>\u003cem>Walk the Line \u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When I was a little girl, I wanted to be a country music singer. So I trained for probably 5, 6 years with vocal coaches. I grew up in Nashville, Tenn., so I grew up with a lot of country music singers and their kids and was just immersed … I wanted to be just like \u003ca href=\"https://www.npr.org/2018/12/09/673738768/dream-it-on-through-dolly-parton-on-her-new-album-inspiring-young-people-and-mor\">Dolly Parton\u003c/a> when I was little. I wanted to write and I wanted to sing my own songs, and I took piano lessons and I took singing lessons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cmpkP-P5sbM\u003c/p>\n\u003cp>When I was about 13, I went and I started studying Broadway at camps in upstate New York and they would have all these experts come in. … They had an acting expert, a dance expert and a singing expert, and the singing coach said, “You really should not put a lot of energy into your singing career.” So I got intimidated and they said, “But your acting is great and you should really pursue that.” So that’s when I kind of tacked left, when I was 13, and started working on acting and concentrating.\u003c/p>\n\u003cp>So when this opportunity came up to play June Carter, I was terrified and I’d been told I wasn’t any good. 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I just love it. It’s my favorite thing to do at dinner parties, too, so invite me over, Terry … I just love spinning a story. It’s really what I was born to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27From+Book+To+Script+To+Screen%2C%27+Reese+Witherspoon+Is+Making+Roles+For+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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She’s an executive producer and co-star of the Apple TV+ series, \u003ca href=\"https://www.npr.org/2019/10/31/774850935/tv-review-the-morning-show-from-apple-tv\">\u003cem>The Morning Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>which centers on a morning news show that’s shaken up when its male anchor is fired after being accused of sexual misconduct.\u003c/p>\n\u003cp>Witherspoon acknowledges certain parallels between the misconduct portrayed in the series and the allegations against real-life TV hosts \u003ca href=\"https://www.npr.org/2019/10/09/768527936/matt-lauer-accused-of-rape-in-new-book-former-nbc-star-denies-false-stories\">Matt Lauer\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/19/524736631/bill-oreilly-is-out-at-fox-news\">Bill O’Reilly\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">Charlie Rose.\u003c/a>\u003c/p>\n\u003cp>“We thought it would have been remiss if we didn’t address [those issues] in our show,” she says. “Sometimes the world is so crazy, TV shows and movies are a great way to try and understand where we’re at.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eA7D4_qU9jo'\n title='//www.youtube.com/embed/eA7D4_qU9jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo\u003c/strong>\u003c/a>\u003cstrong> movement, and being shocked to learn of the extent of sexual misconduct in Hollywood\u003c/strong>\u003c/p>\n\u003cp>I didn’t have any idea what other people’s experiences were. I’d only had my own experiences, and I definitely dealt with harassment. And I had dealt with that privately and in my own way with my family when I was young, when I was really young and starting in the business. I didn’t have any understanding of the widespread abuse that women were experiencing—and not just women, many, many people were experiencing.\u003c/p>\n\u003cp>It really took that moment in time for all of us to start talking. Because you have to remember, as an actress for hire, usually I was the only woman on a set for, I would say, the majority of my 30-year career. I’ve been the only woman in a cast or one of a handful of women in a crew or a cast. So when all of that started happening, women started to gather and really start talking to each other and sharing stories. And I have to say, I was blown away. I did not know the kind of experiences that people were having. And I was in shock. I think a lot of us were in shock. …\u003c/p>\n\u003cp>I’m enormously grateful to the women who spoke up about their experiences and really opened our hearts and our minds and our eyes to what was happening with such regularity, and the journalists who worked so hard to break these stories, despite whatever corporate interference they were having. I’m just enormously grateful to \u003ca href=\"https://www.npr.org/2019/10/15/770249717/ronan-farrow-catch-and-kill-tactics-protected-both-weinstein-and-trump\">Ronan \u003c/a>[Farrow] and \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">Jodi \u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">[Kantor]\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">and Megan\u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\"> [Twohey]\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>On figuring out how and when she wants to share her own experiences with sexual harassment and assault\u003c/strong>\u003c/p>\n\u003cp>I haven’t ever really spoken about it. I’ve been asked about it a lot, which really brings up a lot of questions for me about how do you decide when you want to talk about it, how you want to talk about it? … This is just me, my personal experience. How can I use that not to garner sympathy but to actually promote change and highlight industry standards that are not good enough?\u003c/p>\n\u003cp>It was very powerful to me to share my story with a like-minded group of women with the Time’s Up movement. We talked about ways that we could really encourage change. How could we raise money for women in other industries so that they would have legal help?\u003c/p>\n\u003cp>I had specific experiences and I dealt with them with a therapist. It’s been ongoing, honestly. The whole thing brought up a lot of feelings for me, and it was a really emotional experience that I don’t feel resolved about, and I think I will probably talk about it, but right now I don’t have all the right words.\u003c/p>\n\u003cp>\u003cstrong>On why her mid-30s were a turning point in her career \u003c/strong>\u003c/p>\n\u003cp>People always say, “After you won the Oscar, did your whole career change?” There wasn’t suddenly this huge influx of scripts. … There’s not a secret safe they’re keeping the great scripts and they unlock you when you win awards! I was lucky to do a couple of great movies in my 30s, but not a lot. …\u003c/p>\n\u003cp>\u003cem>Wild \u003c/em>was a big deal for me, because first of all, I love \u003ca href=\"https://www.npr.org/2013/09/08/219754257/the-wild-story-of-cheryl-strayed-and-her-long-lost-half-sister\">Cheryl Strayed\u003c/a>‘s writing, her memoir’s beautiful, but it’s also woman vs. nature, which I had never really seen on film. And so many women are so deeply connected to nature, yet it’s not something we’ve explored. We’ve seen every iteration of a man vs. a bear, vs. the Wild West, on hiking adventures, but I haven’t seen a lot of a woman alone on film as well, and what is that singular journey for a woman to find herself alone in the wilderness?\u003c/p>\n\u003cp>\u003cstrong>On singing for her role as \u003c/strong>\u003ca href=\"https://freshairarchive.org/segments/jumping-through-ring-fire\">\u003cstrong>June Carter Cash\u003c/strong>\u003c/a>\u003cstrong> in \u003c/strong>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5015873\">\u003cstrong>\u003cem>Walk the Line \u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When I was a little girl, I wanted to be a country music singer. So I trained for probably 5, 6 years with vocal coaches. I grew up in Nashville, Tenn., so I grew up with a lot of country music singers and their kids and was just immersed … I wanted to be just like \u003ca href=\"https://www.npr.org/2018/12/09/673738768/dream-it-on-through-dolly-parton-on-her-new-album-inspiring-young-people-and-mor\">Dolly Parton\u003c/a> when I was little. I wanted to write and I wanted to sing my own songs, and I took piano lessons and I took singing lessons.\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/cmpkP-P5sbM'\n title='//www.youtube.com/embed/cmpkP-P5sbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I was about 13, I went and I started studying Broadway at camps in upstate New York and they would have all these experts come in. … They had an acting expert, a dance expert and a singing expert, and the singing coach said, “You really should not put a lot of energy into your singing career.” So I got intimidated and they said, “But your acting is great and you should really pursue that.” So that’s when I kind of tacked left, when I was 13, and started working on acting and concentrating.\u003c/p>\n\u003cp>So when this opportunity came up to play June Carter, I was terrified and I’d been told I wasn’t any good. So I worked for five months with coach Roger Love and with the producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122526723\">T-Bone Burnett\u003c/a> to cut the tracks before we ever walked on set. We recorded all the music so that we could blend live tracks and recorded tracks together. But then we had to actually go and shoot the movie and I had to sing in front of audiences of hundreds of people with \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\">Joaquin Phoenix \u003c/a>onstage with a band, and it was terrifying—terrifying, but thrilling.\u003c/p>\n\u003cp>\u003cstrong>On loving acting \u003c/strong>\u003c/p>\n\u003cp>It’s my number one passion. … I talk a lot about producing … but every day I’m on set feels like such an enormous privilege to be a storyteller in this world. And I started as a little girl, as a storyteller, and I will be a storyteller ’till the day I die. I just love it. It’s my favorite thing to do at dinner parties, too, so invite me over, Terry … I just love spinning a story. It’s really what I was born to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27From+Book+To+Script+To+Screen%2C%27+Reese+Witherspoon+Is+Making+Roles+For+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Rebirth Brass Band, Holiday Train Ride and More for Nov. 14–21",
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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, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\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, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Cozy Snowbound Sweater-Wearing Guide to 2019 Holiday Movies",
"headTitle": "The Cozy Snowbound Sweater-Wearing Guide to 2019 Holiday Movies | KQED",
"content": "\u003cp>[\u003cstrong>UPDATE:\u003c/strong> As of Monday 11/11, we have added three films from OWN and two from Freeform.]\u003c/p>\n\u003cp>It’s holiday TV movie season, and it’s not just a Hallmark party. There’s also Lifetime, UPTV, and—increasingly—Netflix, as well as OWN and Freeform.\u003c/p>\n\u003cp>We know that for devotees of this genre, it can be hard to keep up. Therefore, we have prepared a helpful guide to all the new movies we’re aware of that are on tap for the season, complete with notations for which tropes they offer. Everything in bold is what I would consider an element of holiday programming; that should help you find what you need. Are you a person who likes to see a “suit man” learn the new meaning of Christmas? We can help! Do you prefer to see someone save her hometown? You’ll find just the right movie for you, right here. And remember: These are just the \u003cem>new \u003c/em>ones. There are so many!\u003c/p>\n\u003cp>I’ve also noted where beloved celebrities and nostalgic figures are present—I admit this is a blurry line between these categories, but it’s meant to be “famous for [specific character/project]” versus “famous generally.”\u003c/p>\n\u003cp>Note that these are based on what the networks and services have revealed thus far. Some of these might have hidden elves or moppets or musical numbers that just haven’t revealed themselves yet. You have to keep \u003cem>some \u003c/em>surprises for Santa, right?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ho-ho-ho.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Picture a Perfect Christmas \u003c/strong>\u003c/em>(Hallmark, 11/9, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HrNPPe7hkas\u003c/p>\n\u003cp>She’s an “extreme sports photographer” who goes to her own little town to take care of Grandma and meets a neighbor whose nephew is visiting him. She learns that \u003cstrong>this little town is OK\u003c/strong>. Also \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Radio Christmas\u003c/strong>\u003c/em> (Lifetime, 11/9, 8 pmET)\u003c/p>\n\u003cp>Keshia Knight Pulliam plays a DJ who is forced to relocate from her Philadelphia broadcasting digs to the small town of—you guessed it—Bethlehem, and it turns out \u003cstrong>this little town is OK\u003c/strong>. Also, \u003cstrong>everybody cares too much about Christmas\u003c/strong>, in that there is apparently a “year-round Christmas station.” (You can kind of forgive them because it’s Bethlehem, I suppose.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rock N’ Roll Christmas \u003c/strong>\u003c/em>(UPTV, 11/10, 7pmET)\u003c/p>\n\u003cp>Estranged mother and daughter singers \u003cstrong>rush to get ready\u003c/strong> in time to write a Christmas single together. Will they succeed? I would say it’s fa-la-la-la-likely. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Mistletoe Secret \u003c/strong>\u003c/em>(Hallmark, 11/10, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N8oliBufPuY\u003c/p>\n\u003cp>Remember Kellie Pickler from \u003cem>American Idol\u003c/em>? This is what she does now! She plays a woman whose hometown is losing tourists until a \u003cstrong>grumpy journalist\u003c/strong> agrees to write an article about it, and she has the chance to \u003cstrong>help her hometown\u003c/strong>! Nostalgic figure \u003cstrong>Patrick Duffy\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Sweet Christmas Romance \u003c/strong>\u003c/em>(Lifetime, 11/10, 8 pmET)\u003c/p>\n\u003cp>A food stylist returns to her hometown, where she has the opportunity to participate in a baking contest to win ownership of an \u003cstrong>adorable small business\u003c/strong>, her favorite bakery. Of course, there’s a guy who will be her \u003cstrong>professional competitor\u003c/strong>. Will they fall in love? MIGHT THEY?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Miracle \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/14, 9 pmET)\u003c/p>\n\u003cp>A journalist tries to create a Christmas miracle. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas a La Mode\u003c/strong>\u003c/em> (Lifetime, 11/15, 8 pmET)\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business\u003c/strong>, a family dairy farm? With a \u003cstrong>high-stakes competition\u003c/strong> involving ice cream.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>One Fine Christmas \u003c/strong>\u003c/em>(OWN, 11/15 9 pmET)\u003c/p>\n\u003cp>An impressive ensemble cast including Rick Fox and his daughter Sasha, Vanessa Williams (the \u003cem>Melrose Place \u003c/em>one, not the “Save The Best For Last”/\u003cem>Ugly Betty\u003c/em> one) and Marla Gibbs shows up for this multi-thread story about people living on Christmas Street (where probably \u003cstrong>everybody cares too much about Christmas\u003c/strong>) who have to navigate various hurdles to create \u003cstrong>a perfect Christmas\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Under the Stars\u003c/strong>\u003c/em> (Hallmark 11/16, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=knF-OXlZHVc\u003c/p>\n\u003cp>He’s a \u003cstrong>suit man\u003c/strong> who loses his job and goes to work on a Christmas tree lot despite his \u003cstrong>missing Christmas spirit\u003c/strong>. You get no points for figuring out what happens when he meets Julie, “an astronomy teacher who’s always looked to the stars for hope.” \u003cstrong>Beloved celebrity\u003c/strong> Clarke Peters!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Louisiana\u003c/strong>\u003c/em> (Lifetime, 11/16, 8 pmET)\u003c/p>\n\u003cp>Well she’s a former Miss Christmas in her town, a title that exists because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and she goes back home and runs into the former Mister Christmas, and they might perhaps fall in love and presumably wear matching wreath crowns. \u003cstrong>Beloved celebrities \u003c/strong>Barry Bostwick, Moira Kelly and Dee Wallace.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Cupcakes \u003c/strong>\u003c/em>(UPTV, 11/17, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKtKoj-6Uao\u003c/p>\n\u003cp>How to save the family bakery, a truly \u003cstrong>adorable small business\u003c/strong>? Win a \u003cstrong>high-stakes competition\u003c/strong> on television!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Write Before Christmas \u003c/strong>\u003c/em>(Hallmark, 11/17, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UfNtogYfUmA\u003c/p>\n\u003cp>A woman sends thank-you notes at Christmas. The most important thing to know about this one is that \u003cstrong>nostalgic figure \u003c/strong>Grant Show, former \u003cem>Melrose Place \u003c/em>hottie, is now playing Hot Gray Hair types, and it’s possible that he looks better than ever. Here, most of his scenes seem to be with a cute dog. Also \u003cstrong>beloved celebrity \u003c/strong>Lolita Davidovich. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Random Acts of Christmas \u003c/strong>\u003c/em>(Lifetime, 11/17, 8 pmET)\u003c/p>\n\u003cp>An investigative journalist (not sure if she’s \u003cstrong>grumpy\u003c/strong>) tries to figure out why there are “random acts of Christmas” taking place. A man “ignites her Christmas spirit.” But he “may not be the man he claims to be.” So he could be a bank robber or an elf; we just don’t know. \u003cstrong>Nostalgic figures\u003c/strong> Patrick Duffy and Jaclyn Smith (Duffy’s pulling a twofer!).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Godwink Christmas: Meant For Love \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/17, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=evL3bYs1xFg\u003c/p>\n\u003cp>About a couple brought together by the \u003cstrong>actual supernatural force\u003c/strong> that is “Godwinks,” which are literally winks from God in the theology of the books that inspired this movie as well as a previous one just called \u003cem>A Godwink Christmas\u003c/em>. \u003cstrong>Beloved celebrity \u003c/strong>Kathie Lee Gifford.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Knight Before Christmas\u003c/strong>\u003c/em> (Netflix, 11/21)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JtwROpSVWc\u003c/p>\n\u003cp>If you were a medieval knight and you were magically transported to Christmas in contemporary Ohio, wouldn’t \u003cem>you \u003c/em>hope to run into Vanessa Hudgens? Sure you would. So would this guy, and it happens to him thanks to the \u003cstrong>actual supernatural force \u003c/strong>of time travel. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Magical Christmas Shoes \u003c/strong>\u003c/em>(Lifetime, 11/22, 8 pmET)\u003c/p>\n\u003cp>This is not the same movie as \u003cem>The Christmas Shoes\u003c/em>, based on the book \u003cem>The Christmas Shoes \u003c/em>which was based on the song “The Christmas Shoes.” No, this is \u003cem>The Magical Christmas Shoes\u003c/em>, and it’s something else entirely, but it appears to involve \u003cstrong>actual supernatural forces\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carole’s Christmas\u003c/strong>\u003c/em> (OWN, 11/22 9pm ET)\u003c/p>\n\u003cp>The great and good Jackée Harry stars opposite Kimberly Elise in this story about a woman played by Elise who encounters \u003cstrong>actual supernatural forces\u003c/strong> that allow her to rediscover the true spirit of Christmas after she wishes to explore a different life. Harry appears to be her spiritual advisor in some manner, which makes Carole very lucky indeed.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Twinkle All the Way \u003c/strong>\u003c/em>(Lifetime, 11/23, 8 pmET)\u003c/p>\n\u003cp>So there’s a woman in \u003cstrong>event planning\u003c/strong> who has to plan a Christmas wedding, which is pretty hard. But fortunately for her, she meets a guy who runs a [checks notes] “Christmas decoration and house-lighting company,” where \u003cstrong>everybody cares too much about Christmas.\u003c/strong> They undoubtedly have to \u003cstrong>rush to get ready \u003c/strong>for her wedding and also do the work for his client, who is played by \u003cstrong>beloved celebrity \u003c/strong>Lesley Ann Warren.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Hearts \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/23, 9 pmET)\u003c/p>\n\u003cp>Two people have to care for a friend’s daughter at the same time she has to do holiday \u003cstrong>event planning\u003c/strong> for a Christmas party, which seems like a lot of pressure.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Graceland: Home For the Holidays \u003c/strong>\u003c/em>(Hallmark, 11/23, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7zdV4Wucn6s\u003c/p>\n\u003cp>Remember Adrian Grenier from \u003cem>Entourage\u003c/em>? This is what he does now! He plays a \u003cstrong>suit man\u003c/strong> who prioritizes his job until the nanny he hired, who’s home in Memphis for the holidays, convinces him to stop and smell the peanut butter and bacon sandwiches at the famous \u003cstrong>location, location, location\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Priscilla Presley!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Turkey Drop \u003c/strong>\u003c/em>(Freeform, 11/23, 9 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7O2vvd9Ze1s\u003c/p>\n\u003cp>I had never heard the phrase “turkey dropped”—meaning “broken up with over the holidays, especially Thanksgiving”—and it seems truly terrible. But here we are, following a woman who fears that she’s about to be dumped thusly and starts trying to avoid it. (There aren’t many \u003cstrong>Thanksgiving \u003c/strong>movies, but here is one for you fans of feasting.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Recipe For Romance \u003c/strong>\u003c/em>(UPTV, 11/24, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NZeHPPJmiIo\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business \u003c/strong>that is your family-run inn? Win a \u003cstrong>high-stakes competition \u003c/strong>for which you’ll have to \u003cstrong>rush to get ready\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cherished Memories: A Gift to Remember 2 \u003c/strong>\u003c/em>(Hallmark, 11/24, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cf1X4-GFBZE\u003c/p>\n\u003cp>Look, I could explain this movie to you, or I could tell you that the first sentence of the description is “A year after Darcy ran over Aiden, his amnesia is gone but not their love.” (Darcy is also trying to save the rec center, meaning this is also an example of \u003cstrong>saving her hometown\u003c/strong>).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas 9 to 5 \u003c/strong>\u003c/em>(Lifetime, 11/24, 8 pmET)\u003c/p>\n\u003cp>Tiya Sircar (who plays Vicky/”Real Eleanor” on \u003cem>The Good Place\u003c/em>) plays a \u003cstrong>grump journalist\u003c/strong> (she might be more of a hopeful journalist, but it’s not clear) who’s assigned to find the \u003cstrong>true meaning of Christmas\u003c/strong>, so she becomes a sales clerk.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Duet\u003c/strong>\u003c/em> (Hallmark, 11/25, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbwrJ8puiRI\u003c/p>\n\u003cp>Averie and Jesse used to be a singing duo until they broke up, but now he, her \u003cstrong>old flame\u003c/strong>, comes to her lodge (a/k/a her \u003cstrong>adorable small business\u003c/strong>) over the holidays, and naturally they may just figure out how to get back together. They are played, we should note, by Chaley Rose and Rome Flynn, black leading actors on a channel that basically never used to have black leading actors but has some this year; Lifetime has significantly more and has for quite a while. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Check Inn to Christmas\u003c/strong>\u003c/em> (Hallmark, 11/26, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U52nc97kGnc\u003c/p>\n\u003cp>Her family and his family own rival cozy inns (what could be a more \u003cstrong>adorable small business\u003c/strong>?) and might just fall in love even though they are \u003cstrong>professional competitors\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Richard Karn! \u003cstrong>Horrible pun title\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Very Vintage Christmas\u003c/strong>\u003c/em> (Lifetime, 11/27, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M5iCkgzggbw\u003c/p>\n\u003cp>Tia Mowry-Hardrict is in this one about a woman who owns the ultimate \u003cstrong>adorable small business\u003c/strong>: an antique shop. She comes into possession of a box of someone’s old stuff (which cannot really be that uncommon, given that it’s an antique shop) and decides to return it. A man helps her, obviously.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Club \u003c/strong>\u003c/em>(Hallmark, 11/27, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rya4jG0vDUg\u003c/p>\n\u003cp>A man and a woman meet when they “help an elderly woman find her lost Christmas savings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Rush \u003c/strong>\u003c/em>(Netflix, 11/28)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c2U6diYTnxA\u003c/p>\n\u003cp>Romany Malco plays a dad who loses his job and has to struggle to make \u003cstrong>the perfect Christmas\u003c/strong> for his kids. \u003cstrong>Beloved celebrity\u003c/strong> Darlene Love is in it—will she sing “Christmas (Baby Please Come Home)”?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Wish \u003c/strong>\u003c/em>(Lifetime, 11/28, 8 pmET)\u003c/p>\n\u003cp>It’s not clear whether this movie about a woman who makes a wish for love really gets the wish via \u003cstrong>actual supernatural forces \u003c/strong>or whether she only \u003cem>thinks \u003c/em>she’s getting the wish when actually she’s not getting the wish but just falling in love the regular way, but I’m throwing it in here anyway.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at the Plaza \u003c/strong>\u003c/em>(Hallmark, 11/28, 8 pmET)\u003c/p>\n\u003cp>Jessica and Nick, who are perhaps named after countless characters from other TV romantic movies, are assigned to collaborate on a project at the Plaza Hotel, a very classy \u003cstrong>location, location, location\u003c/strong>. Features two \u003cstrong>beloved celebrities\u003c/strong>: Julia Duffy and Bruce Davison!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Staging Christmas \u003c/strong>\u003c/em>(Lifetime, 11/29, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Ar9rTDB9LQ\u003c/p>\n\u003cp>Soleil Moon Frye, known to children of the ’80s as Punky Brewster, is in this one as a woman who stages houses that people are selling. She gets a special assignment from a guy who doesn’t feel prepared to decorate his own house for Christmas but thinks his daughter would enjoy it. And then she teaches everybody the\u003cstrong> true meaning of Christmas\u003c/strong>, probably. (He is not a suit man; he is a sweater man, which is a very different man.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Evergreen: Tidings of Joy \u003c/strong>\u003c/em>(Hallmark, 11/29, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7YYVC_QkZ28&list=PLOeOtEopjKLoHBhE7KDG0gYQafVeRXqlr\u003c/p>\n\u003cp>The third film in a Hallmark franchise of sorts, this one is about Evergreen’s search for a time capsule and the \u003cstrong>grump journalist\u003c/strong> who comes to town and meets a woman just in time to be charmed by it all and \u003cstrong>help her hometown\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baking Christmas \u003c/strong>\u003c/em>(OWN, 11/29, 9 pmET)\u003c/p>\n\u003cp>The matriarch of a town bakery (the ultimate \u003cstrong>adorable small business\u003c/strong>) decides to retire, leaving her kids to participate in a \u003cstrong>high-stakes competition \u003c/strong>to determine who will take over.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Merry Liddle Christmas \u003c/strong>\u003c/em>(Lifetime, 11/30, 8 pmET)\u003c/p>\n\u003cp>Kelly Rowland stars as a woman who’s obsessed with\u003cstrong> the perfect Christmas\u003c/strong>, only to find that her family is all over the place and driving her crazy. Will she learn that the \u003cstrong>true meaning of Christmas\u003c/strong> is not about Instagram? I bet she will.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Rome \u003c/strong>\u003c/em>(Hallmark, 11/30, 8 pmET)\u003c/p>\n\u003cp>Lacey Chabert, one of our Christmas Movie Queens, plays a woman who shows around an American \u003cstrong>suit man\u003c/strong> who wants to buy a company in Rome, but suffers from \u003cstrong>missing Christmas spirit\u003c/strong> even in this tremendous \u003cstrong>location, location, location\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sense, Sensibility & Snowmen \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/30, 9 pmET)\u003c/p>\n\u003cp>“Christmas enthusiast” \u003cstrong>event planners \u003c/strong>get a client who’s a \u003cstrong>suit man \u003c/strong>and a “not-so-jolly toy company CEO.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Chalet \u003c/strong>\u003c/em>(UPTV, 12/1, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JAdNMdwF_CU\u003c/p>\n\u003cp>The Christmas chalet is double-booked (almost like being \u003cstrong>snowed in\u003c/strong>!), and the other person staying with a divorced mom and her daughter is a “\u003cstrong>grumpy writer\u003c/strong> who hates Christmas.” (Writer, journalist, you know.) Well, I bet he doesn’t hate Christmas for long. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>You Light Up My Christmas\u003c/strong>\u003c/em> (Lifetime, 12/1, 8 pmET)\u003c/p>\n\u003cp>Kim Fields plays a woman whose hometown was “built around her family’s pioneer Christmas Light Factory.” (Perhaps \u003cstrong>everybody cares too much about Christmas\u003c/strong>?) She needs to \u003cstrong>help her hometown \u003c/strong>and her \u003cstrong>adorable small business\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Town\u003c/strong>\u003c/em> (Hallmark, 12/1, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RBhwO2Yt8xI\u003c/p>\n\u003cp>A career woman discovers that \u003cstrong>this little town is OK\u003c/strong> when she winds up in said little town, where there is Some Dude. Stars Candance Cameron Bure, billed as “Christmas favorite Candace Cameron Bure.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Ghosting: The Spirit of Christmas\u003c/strong>\u003c/em> (Freeform, 12/7 9 pmET)\u003c/p>\n\u003cp>It was probably inevitable that people would begin experimenting with what it would be like if “ghosting” happened because you were actually dead. That’s the premise of this Freeform movie about \u003cstrong>actual supernatural forces\u003c/strong>, in which a woman goes on a great date and then dies, making it difficult for her to return texts and so forth.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Prince: The Royal Baby \u003c/strong>\u003c/em>(Netflix, 12/5)\u003c/p>\n\u003cp>The \u003cstrong>royal family\u003c/strong> franchise that is following the literal “first comes love, then comes marriage, then comes Tiny in the baby carriage” rhyme reaches its third chapter. Is there anything left after this? The Royal Home Equity Loan?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Storybook Christmas\u003c/strong>\u003c/em> (Lifetime, 12/6, 8 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rdl4eyqlaOk\u003c/p>\n\u003cp>An \u003cstrong>event planner\u003c/strong> hires a nanny for her niece at Christmas and THE NANNY IS A MAN. We are through the looking glass of traditional gender roles.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mistletoe and Menorahs\u003c/strong>\u003c/em> (Lifetime, 12/7, 6 pmET)\u003c/p>\n\u003cp>She has to learn about \u003cstrong>Hanukkah\u003c/strong>! He has to learn about Christmas! They’d better get busy!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Unleashed\u003c/strong>\u003c/em> (Lifetime, 12/7, 8 pmET)\u003c/p>\n\u003cp>An \u003cstrong>old flame\u003c/strong> has to help find Vanessa Lachey’s dog. Well, not Vanessa Lachey. A woman played by Vanessa Lachey. You know what I’m saying.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Love Story \u003c/strong>\u003c/em>(Hallmark [Hall Of Fame], 12/7, 8 pmET)\u003c/p>\n\u003cp>Kristin Chenoweth plays a youth choir director who meets the widowed father (Scott Wolf) of just the beautiful \u003cstrong>moppet \u003c/strong>singer she’s been looking for. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Homecoming For the Holidays \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 12/7, 9 pmET)\u003c/p>\n\u003cp>Actual Broadway performer (and winner of the reality show \u003cem>Grease: You’re The One That I Want!\u003c/em>) Laura Osnes stars as a country singer who helps a guy build a house for a friend. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Paris\u003c/strong>\u003c/em> (UPTV, 12/8, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GSlXzW-sXFs\u003c/p>\n\u003cp>A rich French guy comes to Montana, whisks a local woman off to Paris for Christmas, and has a secret. \u003cstrong>Location, location, location!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Dollywood \u003c/strong>\u003c/em>(Hallmark, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two people fall in love while\u003cstrong> event planning\u003c/strong>, specifically for the Christmas show at Dollywood. \u003cstrong>There’s probably music \u003c/strong>at this particular \u003cstrong>location, location, location\u003c/strong>. Features \u003cstrong>beloved celebrity \u003c/strong>Dolly Parton!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Grounded For Christmas\u003c/strong>\u003c/em> (Lifetime, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two pilots who don’t get along find their flight \u003cstrong>snowed in \u003c/strong>so they’re stuck in Cleveland. They wind up at her parents’ house, but because her ex is around, he agrees to a scheme where her family can \u003cstrong>meet her fake boyfriend\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Stars \u003c/strong>\u003c/em>(Lifetime, 12/13, 8 pmET)\u003c/p>\n\u003cp>J.T. Hodges and Erica Durance star as aspiring singers working together and maybe falling in love and there’s a \u003cstrong>high-stakes competition \u003c/strong>and \u003cstrong>there’s probably music \u003c/strong>and is this \u003cem>A Star Is Born: Christmas Edition\u003c/em> or what?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Matchmaker Christmas\u003c/strong>\u003c/em> (Lifetime, 12/14, 6 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dnvrP1_9zak\u003c/p>\n\u003cp>The \u003cstrong>old flame\u003c/strong> who shows up around Christmas in this one is named Jaxson. Yyyyikes. I say don’t do it, girl.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Winter Song \u003c/strong>\u003c/em>(Lifetime, 12/14, 8 pmET)\u003c/p>\n\u003cp>Ashanti is in this one, as a woman who meets a former jazz singer named Fred, played by Stan Shaw, who’s now homeless. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Date\u003c/strong>\u003c/em> (Hallmark, 12/14, 8 pmET)\u003c/p>\n\u003cp>Brooke brings an actor home to have her family \u003cstrong>meet her fake boyfriend\u003c/strong> over the holidays, something many many romcom characters have tried. And then she learns he’s Jewish and celebrates \u003cstrong>Hanukkah\u003c/strong>. \u003cstrong>Beloved celebrity \u003c/strong>Bruce Boxleitner!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Snowbound for Christmas \u003c/strong>\u003c/em>(UPTV, 12/15, 7 pmET)\u003c/p>\n\u003cp>This is actually based on a novella that I have read, by the terrific romance writer Shannon Stacey! (It was called \u003cem>Snowbound with the CEO.\u003c/em>) A boss brings his marketing executive to a pitch that will take place at a resort, and they are \u003cstrong>snowed in\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rediscovering Christmas \u003c/strong>\u003c/em>(Lifetime, 12/15, 8 pmET)\u003c/p>\n\u003cp>Mia the big-city window dresser has to come back to \u003cstrong>help her hometown\u003c/strong> to help with the annual Snowflake festival!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Cheerful Christmas\u003c/strong>\u003c/em> (Hallmark, 12/15, 8 pmET)\u003c/p>\n\u003cp>A woman is hired as the “Christmas coach” to restore the \u003cstrong>missing Christmas spirit \u003c/strong>of someone who is somehow both a member of a \u003cstrong>royal family\u003c/strong> and a \u003cstrong>suit man\u003c/strong> at a company.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Temp \u003c/strong>\u003c/em>(Lifetime, 12/20, 8 pmET)\u003c/p>\n\u003cp>There is a “Christmas temp agency” in this movie because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and it has an HR manager for whom the titular Christmas Temp has “feelings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Love Letter \u003c/strong>\u003c/em>(Lifetime, 12/21, 6 pmET)\u003c/p>\n\u003cp>A relationship advice columnist goes back home to figure out who wrote her an anonymous love letter. Information is limited, but based on the promotional photo, I can add \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Hotel \u003c/strong>\u003c/em>(Lifetime, 12/21, 8 pmET)\u003c/p>\n\u003cp>Garland Grove (where this takes place) is all about Christmas 12 months a year, making it the ultimate \u003cstrong>everybody cares too much about Christmas \u003c/strong>situation. Erin (Tatyana Ali) is in charge of developing a new hotel and \u003cstrong>help her hometown\u003c/strong>, so she makes it a Christmas Hotel to please the locals. Her \u003cstrong>old flame \u003c/strong>helps her find her \u003cstrong>missing Christmas spirit\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>It’s Beginning to Look a Lot Like Christmas\u003c/strong>\u003c/em> (Hallmark, 12/21, 8 pmET)\u003c/p>\n\u003cp>No description except a photo of a man in a sweater looking hopefully upward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Wedding Runaway\u003c/strong>\u003c/em> (UPTV, 12/22, 7 pmET)\u003c/p>\n\u003cp>A soon-to-be bride is \u003cstrong>snowed in\u003c/strong> with her Grandma and an \u003cstrong>old flame\u003c/strong>. In the promotional photo, one guy is wearing glasses and a suit and the other guy is scruffy with a flannel shirt, so I’m pretty sure the flannel shirt guy will win, even on UPTV.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Double Holiday\u003c/strong>\u003c/em> (Hallmark, 12/22, 8 pmET)\u003c/p>\n\u003cp>Rebecca, who celebrates \u003cstrong>Hanukkah\u003c/strong>, is thrown together with Chris, who celebrates Christmas, to carry out some \u003cstrong>event planning\u003c/strong> around the office holiday party. Naturally they fall in love, even though they’re \u003cstrong>professional competitors\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Date By Christmas Eve \u003c/strong>\u003c/em>(Lifetime, 12/22, 8 pmET)\u003c/p>\n\u003cp>A woman gets magical powers from the \u003cstrong>actual supernatural forces \u003c/strong>within a dating app and accidentally adds her kindly neighbor to the naughty list, and do not get me started.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baby in a Manger \u003c/strong>\u003c/em>(UPTV, 12/24, 7 pmET)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UqM_QMFOHkg\u003c/p>\n\u003cp>Someone has abandoned a baby in a nativity scene (a little on the nose), so a social worker and a police officer work to find the baby’s mother. I can’t even figure out what they want you to root for!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>New Year, New Me \u003c/strong>\u003c/em>(Hallmark, 12/28, 8 pmET)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No description except a photo of part of a tree.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Cozy+Snowbound+Sweater-Wearing+Guide+To+2019+Holiday+Movies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Yes, it's here again: the season when cable and streaming networks offer a deluge of holiday stories—61 in all!—full of happy couples, moppets and people learning the true meaning of Christmas.",
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"description": "Yes, it's here again: the season when cable and streaming networks offer a deluge of holiday stories—61 in all!—full of happy couples, moppets and people learning the true meaning of Christmas.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[\u003cstrong>UPDATE:\u003c/strong> As of Monday 11/11, we have added three films from OWN and two from Freeform.]\u003c/p>\n\u003cp>It’s holiday TV movie season, and it’s not just a Hallmark party. There’s also Lifetime, UPTV, and—increasingly—Netflix, as well as OWN and Freeform.\u003c/p>\n\u003cp>We know that for devotees of this genre, it can be hard to keep up. Therefore, we have prepared a helpful guide to all the new movies we’re aware of that are on tap for the season, complete with notations for which tropes they offer. Everything in bold is what I would consider an element of holiday programming; that should help you find what you need. Are you a person who likes to see a “suit man” learn the new meaning of Christmas? We can help! Do you prefer to see someone save her hometown? You’ll find just the right movie for you, right here. And remember: These are just the \u003cem>new \u003c/em>ones. There are so many!\u003c/p>\n\u003cp>I’ve also noted where beloved celebrities and nostalgic figures are present—I admit this is a blurry line between these categories, but it’s meant to be “famous for [specific character/project]” versus “famous generally.”\u003c/p>\n\u003cp>Note that these are based on what the networks and services have revealed thus far. Some of these might have hidden elves or moppets or musical numbers that just haven’t revealed themselves yet. You have to keep \u003cem>some \u003c/em>surprises for Santa, right?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ho-ho-ho.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Picture a Perfect Christmas \u003c/strong>\u003c/em>(Hallmark, 11/9, 8 pmET)\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/HrNPPe7hkas'\n title='//www.youtube.com/embed/HrNPPe7hkas'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She’s an “extreme sports photographer” who goes to her own little town to take care of Grandma and meets a neighbor whose nephew is visiting him. She learns that \u003cstrong>this little town is OK\u003c/strong>. Also \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Radio Christmas\u003c/strong>\u003c/em> (Lifetime, 11/9, 8 pmET)\u003c/p>\n\u003cp>Keshia Knight Pulliam plays a DJ who is forced to relocate from her Philadelphia broadcasting digs to the small town of—you guessed it—Bethlehem, and it turns out \u003cstrong>this little town is OK\u003c/strong>. Also, \u003cstrong>everybody cares too much about Christmas\u003c/strong>, in that there is apparently a “year-round Christmas station.” (You can kind of forgive them because it’s Bethlehem, I suppose.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rock N’ Roll Christmas \u003c/strong>\u003c/em>(UPTV, 11/10, 7pmET)\u003c/p>\n\u003cp>Estranged mother and daughter singers \u003cstrong>rush to get ready\u003c/strong> in time to write a Christmas single together. Will they succeed? I would say it’s fa-la-la-la-likely. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Mistletoe Secret \u003c/strong>\u003c/em>(Hallmark, 11/10, 8 pmET)\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/N8oliBufPuY'\n title='//www.youtube.com/embed/N8oliBufPuY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember Kellie Pickler from \u003cem>American Idol\u003c/em>? This is what she does now! She plays a woman whose hometown is losing tourists until a \u003cstrong>grumpy journalist\u003c/strong> agrees to write an article about it, and she has the chance to \u003cstrong>help her hometown\u003c/strong>! Nostalgic figure \u003cstrong>Patrick Duffy\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Sweet Christmas Romance \u003c/strong>\u003c/em>(Lifetime, 11/10, 8 pmET)\u003c/p>\n\u003cp>A food stylist returns to her hometown, where she has the opportunity to participate in a baking contest to win ownership of an \u003cstrong>adorable small business\u003c/strong>, her favorite bakery. Of course, there’s a guy who will be her \u003cstrong>professional competitor\u003c/strong>. Will they fall in love? MIGHT THEY?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Miracle \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/14, 9 pmET)\u003c/p>\n\u003cp>A journalist tries to create a Christmas miracle. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas a La Mode\u003c/strong>\u003c/em> (Lifetime, 11/15, 8 pmET)\u003c/p>\n\u003cp>How to save the \u003cstrong>adorable small business\u003c/strong>, a family dairy farm? With a \u003cstrong>high-stakes competition\u003c/strong> involving ice cream.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>One Fine Christmas \u003c/strong>\u003c/em>(OWN, 11/15 9 pmET)\u003c/p>\n\u003cp>An impressive ensemble cast including Rick Fox and his daughter Sasha, Vanessa Williams (the \u003cem>Melrose Place \u003c/em>one, not the “Save The Best For Last”/\u003cem>Ugly Betty\u003c/em> one) and Marla Gibbs shows up for this multi-thread story about people living on Christmas Street (where probably \u003cstrong>everybody cares too much about Christmas\u003c/strong>) who have to navigate various hurdles to create \u003cstrong>a perfect Christmas\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Under the Stars\u003c/strong>\u003c/em> (Hallmark 11/16, 9 pmET)\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/knF-OXlZHVc'\n title='//www.youtube.com/embed/knF-OXlZHVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s a \u003cstrong>suit man\u003c/strong> who loses his job and goes to work on a Christmas tree lot despite his \u003cstrong>missing Christmas spirit\u003c/strong>. You get no points for figuring out what happens when he meets Julie, “an astronomy teacher who’s always looked to the stars for hope.” \u003cstrong>Beloved celebrity\u003c/strong> Clarke Peters!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Louisiana\u003c/strong>\u003c/em> (Lifetime, 11/16, 8 pmET)\u003c/p>\n\u003cp>Well she’s a former Miss Christmas in her town, a title that exists because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and she goes back home and runs into the former Mister Christmas, and they might perhaps fall in love and presumably wear matching wreath crowns. \u003cstrong>Beloved celebrities \u003c/strong>Barry Bostwick, Moira Kelly and Dee Wallace.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Cupcakes \u003c/strong>\u003c/em>(UPTV, 11/17, 7 pmET)\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/cKtKoj-6Uao'\n title='//www.youtube.com/embed/cKtKoj-6Uao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to save the family bakery, a truly \u003cstrong>adorable small business\u003c/strong>? Win a \u003cstrong>high-stakes competition\u003c/strong> on television!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Write Before Christmas \u003c/strong>\u003c/em>(Hallmark, 11/17, 8 pmET)\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/UfNtogYfUmA'\n title='//www.youtube.com/embed/UfNtogYfUmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A woman sends thank-you notes at Christmas. The most important thing to know about this one is that \u003cstrong>nostalgic figure \u003c/strong>Grant Show, former \u003cem>Melrose Place \u003c/em>hottie, is now playing Hot Gray Hair types, and it’s possible that he looks better than ever. Here, most of his scenes seem to be with a cute dog. Also \u003cstrong>beloved celebrity \u003c/strong>Lolita Davidovich. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Random Acts of Christmas \u003c/strong>\u003c/em>(Lifetime, 11/17, 8 pmET)\u003c/p>\n\u003cp>An investigative journalist (not sure if she’s \u003cstrong>grumpy\u003c/strong>) tries to figure out why there are “random acts of Christmas” taking place. A man “ignites her Christmas spirit.” But he “may not be the man he claims to be.” So he could be a bank robber or an elf; we just don’t know. \u003cstrong>Nostalgic figures\u003c/strong> Patrick Duffy and Jaclyn Smith (Duffy’s pulling a twofer!).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Godwink Christmas: Meant For Love \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/17, 9 pmET)\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/evL3bYs1xFg'\n title='//www.youtube.com/embed/evL3bYs1xFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>About a couple brought together by the \u003cstrong>actual supernatural force\u003c/strong> that is “Godwinks,” which are literally winks from God in the theology of the books that inspired this movie as well as a previous one just called \u003cem>A Godwink Christmas\u003c/em>. \u003cstrong>Beloved celebrity \u003c/strong>Kathie Lee Gifford.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Knight Before Christmas\u003c/strong>\u003c/em> (Netflix, 11/21)\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/-JtwROpSVWc'\n title='//www.youtube.com/embed/-JtwROpSVWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you were a medieval knight and you were magically transported to Christmas in contemporary Ohio, wouldn’t \u003cem>you \u003c/em>hope to run into Vanessa Hudgens? Sure you would. So would this guy, and it happens to him thanks to the \u003cstrong>actual supernatural force \u003c/strong>of time travel. \u003cstrong>Horrible pun title.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Magical Christmas Shoes \u003c/strong>\u003c/em>(Lifetime, 11/22, 8 pmET)\u003c/p>\n\u003cp>This is not the same movie as \u003cem>The Christmas Shoes\u003c/em>, based on the book \u003cem>The Christmas Shoes \u003c/em>which was based on the song “The Christmas Shoes.” No, this is \u003cem>The Magical Christmas Shoes\u003c/em>, and it’s something else entirely, but it appears to involve \u003cstrong>actual supernatural forces\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Carole’s Christmas\u003c/strong>\u003c/em> (OWN, 11/22 9pm ET)\u003c/p>\n\u003cp>The great and good Jackée Harry stars opposite Kimberly Elise in this story about a woman played by Elise who encounters \u003cstrong>actual supernatural forces\u003c/strong> that allow her to rediscover the true spirit of Christmas after she wishes to explore a different life. Harry appears to be her spiritual advisor in some manner, which makes Carole very lucky indeed.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Twinkle All the Way \u003c/strong>\u003c/em>(Lifetime, 11/23, 8 pmET)\u003c/p>\n\u003cp>So there’s a woman in \u003cstrong>event planning\u003c/strong> who has to plan a Christmas wedding, which is pretty hard. But fortunately for her, she meets a guy who runs a [checks notes] “Christmas decoration and house-lighting company,” where \u003cstrong>everybody cares too much about Christmas.\u003c/strong> They undoubtedly have to \u003cstrong>rush to get ready \u003c/strong>for her wedding and also do the work for his client, who is played by \u003cstrong>beloved celebrity \u003c/strong>Lesley Ann Warren.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Hearts \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/23, 9 pmET)\u003c/p>\n\u003cp>Two people have to care for a friend’s daughter at the same time she has to do holiday \u003cstrong>event planning\u003c/strong> for a Christmas party, which seems like a lot of pressure.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Graceland: Home For the Holidays \u003c/strong>\u003c/em>(Hallmark, 11/23, 8 pmET)\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/7zdV4Wucn6s'\n title='//www.youtube.com/embed/7zdV4Wucn6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember Adrian Grenier from \u003cem>Entourage\u003c/em>? This is what he does now! He plays a \u003cstrong>suit man\u003c/strong> who prioritizes his job until the nanny he hired, who’s home in Memphis for the holidays, convinces him to stop and smell the peanut butter and bacon sandwiches at the famous \u003cstrong>location, location, location\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Priscilla Presley!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Turkey Drop \u003c/strong>\u003c/em>(Freeform, 11/23, 9 pmET)\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/7O2vvd9Ze1s'\n title='//www.youtube.com/embed/7O2vvd9Ze1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I had never heard the phrase “turkey dropped”—meaning “broken up with over the holidays, especially Thanksgiving”—and it seems truly terrible. But here we are, following a woman who fears that she’s about to be dumped thusly and starts trying to avoid it. (There aren’t many \u003cstrong>Thanksgiving \u003c/strong>movies, but here is one for you fans of feasting.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Recipe For Romance \u003c/strong>\u003c/em>(UPTV, 11/24, 7 pmET)\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/NZeHPPJmiIo'\n title='//www.youtube.com/embed/NZeHPPJmiIo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to save the \u003cstrong>adorable small business \u003c/strong>that is your family-run inn? Win a \u003cstrong>high-stakes competition \u003c/strong>for which you’ll have to \u003cstrong>rush to get ready\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Cherished Memories: A Gift to Remember 2 \u003c/strong>\u003c/em>(Hallmark, 11/24, 8 pmET)\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/cf1X4-GFBZE'\n title='//www.youtube.com/embed/cf1X4-GFBZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, I could explain this movie to you, or I could tell you that the first sentence of the description is “A year after Darcy ran over Aiden, his amnesia is gone but not their love.” (Darcy is also trying to save the rec center, meaning this is also an example of \u003cstrong>saving her hometown\u003c/strong>).\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas 9 to 5 \u003c/strong>\u003c/em>(Lifetime, 11/24, 8 pmET)\u003c/p>\n\u003cp>Tiya Sircar (who plays Vicky/”Real Eleanor” on \u003cem>The Good Place\u003c/em>) plays a \u003cstrong>grump journalist\u003c/strong> (she might be more of a hopeful journalist, but it’s not clear) who’s assigned to find the \u003cstrong>true meaning of Christmas\u003c/strong>, so she becomes a sales clerk.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Duet\u003c/strong>\u003c/em> (Hallmark, 11/25, 8 pmET)\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/LbwrJ8puiRI'\n title='//www.youtube.com/embed/LbwrJ8puiRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Averie and Jesse used to be a singing duo until they broke up, but now he, her \u003cstrong>old flame\u003c/strong>, comes to her lodge (a/k/a her \u003cstrong>adorable small business\u003c/strong>) over the holidays, and naturally they may just figure out how to get back together. They are played, we should note, by Chaley Rose and Rome Flynn, black leading actors on a channel that basically never used to have black leading actors but has some this year; Lifetime has significantly more and has for quite a while. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Check Inn to Christmas\u003c/strong>\u003c/em> (Hallmark, 11/26, 8 pmET)\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/U52nc97kGnc'\n title='//www.youtube.com/embed/U52nc97kGnc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her family and his family own rival cozy inns (what could be a more \u003cstrong>adorable small business\u003c/strong>?) and might just fall in love even though they are \u003cstrong>professional competitors\u003c/strong>. \u003cstrong>Nostalgic figure \u003c/strong>Richard Karn! \u003cstrong>Horrible pun title\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Very Vintage Christmas\u003c/strong>\u003c/em> (Lifetime, 11/27, 8 pmET)\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/M5iCkgzggbw'\n title='//www.youtube.com/embed/M5iCkgzggbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tia Mowry-Hardrict is in this one about a woman who owns the ultimate \u003cstrong>adorable small business\u003c/strong>: an antique shop. She comes into possession of a box of someone’s old stuff (which cannot really be that uncommon, given that it’s an antique shop) and decides to return it. A man helps her, obviously.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Club \u003c/strong>\u003c/em>(Hallmark, 11/27, 8 pmET)\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/Rya4jG0vDUg'\n title='//www.youtube.com/embed/Rya4jG0vDUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A man and a woman meet when they “help an elderly woman find her lost Christmas savings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Rush \u003c/strong>\u003c/em>(Netflix, 11/28)\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/c2U6diYTnxA'\n title='//www.youtube.com/embed/c2U6diYTnxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Romany Malco plays a dad who loses his job and has to struggle to make \u003cstrong>the perfect Christmas\u003c/strong> for his kids. \u003cstrong>Beloved celebrity\u003c/strong> Darlene Love is in it—will she sing “Christmas (Baby Please Come Home)”?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Wish \u003c/strong>\u003c/em>(Lifetime, 11/28, 8 pmET)\u003c/p>\n\u003cp>It’s not clear whether this movie about a woman who makes a wish for love really gets the wish via \u003cstrong>actual supernatural forces \u003c/strong>or whether she only \u003cem>thinks \u003c/em>she’s getting the wish when actually she’s not getting the wish but just falling in love the regular way, but I’m throwing it in here anyway.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at the Plaza \u003c/strong>\u003c/em>(Hallmark, 11/28, 8 pmET)\u003c/p>\n\u003cp>Jessica and Nick, who are perhaps named after countless characters from other TV romantic movies, are assigned to collaborate on a project at the Plaza Hotel, a very classy \u003cstrong>location, location, location\u003c/strong>. Features two \u003cstrong>beloved celebrities\u003c/strong>: Julia Duffy and Bruce Davison!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Staging Christmas \u003c/strong>\u003c/em>(Lifetime, 11/29, 8 pmET)\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/2Ar9rTDB9LQ'\n title='//www.youtube.com/embed/2Ar9rTDB9LQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Soleil Moon Frye, known to children of the ’80s as Punky Brewster, is in this one as a woman who stages houses that people are selling. She gets a special assignment from a guy who doesn’t feel prepared to decorate his own house for Christmas but thinks his daughter would enjoy it. And then she teaches everybody the\u003cstrong> true meaning of Christmas\u003c/strong>, probably. (He is not a suit man; he is a sweater man, which is a very different man.)\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Evergreen: Tidings of Joy \u003c/strong>\u003c/em>(Hallmark, 11/29, 8 pmET)\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/7YYVC_QkZ28'\n title='//www.youtube.com/embed/7YYVC_QkZ28'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The third film in a Hallmark franchise of sorts, this one is about Evergreen’s search for a time capsule and the \u003cstrong>grump journalist\u003c/strong> who comes to town and meets a woman just in time to be charmed by it all and \u003cstrong>help her hometown\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baking Christmas \u003c/strong>\u003c/em>(OWN, 11/29, 9 pmET)\u003c/p>\n\u003cp>The matriarch of a town bakery (the ultimate \u003cstrong>adorable small business\u003c/strong>) decides to retire, leaving her kids to participate in a \u003cstrong>high-stakes competition \u003c/strong>to determine who will take over.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Merry Liddle Christmas \u003c/strong>\u003c/em>(Lifetime, 11/30, 8 pmET)\u003c/p>\n\u003cp>Kelly Rowland stars as a woman who’s obsessed with\u003cstrong> the perfect Christmas\u003c/strong>, only to find that her family is all over the place and driving her crazy. Will she learn that the \u003cstrong>true meaning of Christmas\u003c/strong> is not about Instagram? I bet she will.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Rome \u003c/strong>\u003c/em>(Hallmark, 11/30, 8 pmET)\u003c/p>\n\u003cp>Lacey Chabert, one of our Christmas Movie Queens, plays a woman who shows around an American \u003cstrong>suit man\u003c/strong> who wants to buy a company in Rome, but suffers from \u003cstrong>missing Christmas spirit\u003c/strong> even in this tremendous \u003cstrong>location, location, location\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Sense, Sensibility & Snowmen \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 11/30, 9 pmET)\u003c/p>\n\u003cp>“Christmas enthusiast” \u003cstrong>event planners \u003c/strong>get a client who’s a \u003cstrong>suit man \u003c/strong>and a “not-so-jolly toy company CEO.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Chalet \u003c/strong>\u003c/em>(UPTV, 12/1, 7 pmET)\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/JAdNMdwF_CU'\n title='//www.youtube.com/embed/JAdNMdwF_CU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Christmas chalet is double-booked (almost like being \u003cstrong>snowed in\u003c/strong>!), and the other person staying with a divorced mom and her daughter is a “\u003cstrong>grumpy writer\u003c/strong> who hates Christmas.” (Writer, journalist, you know.) Well, I bet he doesn’t hate Christmas for long. \u003cstrong>Moppet!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>You Light Up My Christmas\u003c/strong>\u003c/em> (Lifetime, 12/1, 8 pmET)\u003c/p>\n\u003cp>Kim Fields plays a woman whose hometown was “built around her family’s pioneer Christmas Light Factory.” (Perhaps \u003cstrong>everybody cares too much about Christmas\u003c/strong>?) She needs to \u003cstrong>help her hometown \u003c/strong>and her \u003cstrong>adorable small business\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Town\u003c/strong>\u003c/em> (Hallmark, 12/1, 8 pmET)\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/RBhwO2Yt8xI'\n title='//www.youtube.com/embed/RBhwO2Yt8xI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A career woman discovers that \u003cstrong>this little town is OK\u003c/strong> when she winds up in said little town, where there is Some Dude. Stars Candance Cameron Bure, billed as “Christmas favorite Candace Cameron Bure.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Ghosting: The Spirit of Christmas\u003c/strong>\u003c/em> (Freeform, 12/7 9 pmET)\u003c/p>\n\u003cp>It was probably inevitable that people would begin experimenting with what it would be like if “ghosting” happened because you were actually dead. That’s the premise of this Freeform movie about \u003cstrong>actual supernatural forces\u003c/strong>, in which a woman goes on a great date and then dies, making it difficult for her to return texts and so forth.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Prince: The Royal Baby \u003c/strong>\u003c/em>(Netflix, 12/5)\u003c/p>\n\u003cp>The \u003cstrong>royal family\u003c/strong> franchise that is following the literal “first comes love, then comes marriage, then comes Tiny in the baby carriage” rhyme reaches its third chapter. Is there anything left after this? The Royal Home Equity Loan?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Storybook Christmas\u003c/strong>\u003c/em> (Lifetime, 12/6, 8 pmET)\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/rdl4eyqlaOk'\n title='//www.youtube.com/embed/rdl4eyqlaOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An \u003cstrong>event planner\u003c/strong> hires a nanny for her niece at Christmas and THE NANNY IS A MAN. We are through the looking glass of traditional gender roles.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Mistletoe and Menorahs\u003c/strong>\u003c/em> (Lifetime, 12/7, 6 pmET)\u003c/p>\n\u003cp>She has to learn about \u003cstrong>Hanukkah\u003c/strong>! He has to learn about Christmas! They’d better get busy!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Unleashed\u003c/strong>\u003c/em> (Lifetime, 12/7, 8 pmET)\u003c/p>\n\u003cp>An \u003cstrong>old flame\u003c/strong> has to help find Vanessa Lachey’s dog. Well, not Vanessa Lachey. A woman played by Vanessa Lachey. You know what I’m saying.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Love Story \u003c/strong>\u003c/em>(Hallmark [Hall Of Fame], 12/7, 8 pmET)\u003c/p>\n\u003cp>Kristin Chenoweth plays a youth choir director who meets the widowed father (Scott Wolf) of just the beautiful \u003cstrong>moppet \u003c/strong>singer she’s been looking for. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Homecoming For the Holidays \u003c/strong>\u003c/em>(Hallmark Movies & Mysteries, 12/7, 9 pmET)\u003c/p>\n\u003cp>Actual Broadway performer (and winner of the reality show \u003cem>Grease: You’re The One That I Want!\u003c/em>) Laura Osnes stars as a country singer who helps a guy build a house for a friend. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas in Paris\u003c/strong>\u003c/em> (UPTV, 12/8, 7 pmET)\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/GSlXzW-sXFs'\n title='//www.youtube.com/embed/GSlXzW-sXFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A rich French guy comes to Montana, whisks a local woman off to Paris for Christmas, and has a secret. \u003cstrong>Location, location, location!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas at Dollywood \u003c/strong>\u003c/em>(Hallmark, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two people fall in love while\u003cstrong> event planning\u003c/strong>, specifically for the Christmas show at Dollywood. \u003cstrong>There’s probably music \u003c/strong>at this particular \u003cstrong>location, location, location\u003c/strong>. Features \u003cstrong>beloved celebrity \u003c/strong>Dolly Parton!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Grounded For Christmas\u003c/strong>\u003c/em> (Lifetime, 12/8, 8 pmET)\u003c/p>\n\u003cp>Two pilots who don’t get along find their flight \u003cstrong>snowed in \u003c/strong>so they’re stuck in Cleveland. They wind up at her parents’ house, but because her ex is around, he agrees to a scheme where her family can \u003cstrong>meet her fake boyfriend\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Stars \u003c/strong>\u003c/em>(Lifetime, 12/13, 8 pmET)\u003c/p>\n\u003cp>J.T. Hodges and Erica Durance star as aspiring singers working together and maybe falling in love and there’s a \u003cstrong>high-stakes competition \u003c/strong>and \u003cstrong>there’s probably music \u003c/strong>and is this \u003cem>A Star Is Born: Christmas Edition\u003c/em> or what?\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Matchmaker Christmas\u003c/strong>\u003c/em> (Lifetime, 12/14, 6 pmET)\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/dnvrP1_9zak'\n title='//www.youtube.com/embed/dnvrP1_9zak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003cstrong>old flame\u003c/strong> who shows up around Christmas in this one is named Jaxson. Yyyyikes. I say don’t do it, girl.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Christmas Winter Song \u003c/strong>\u003c/em>(Lifetime, 12/14, 8 pmET)\u003c/p>\n\u003cp>Ashanti is in this one, as a woman who meets a former jazz singer named Fred, played by Stan Shaw, who’s now homeless. \u003cstrong>There’s probably music!\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Holiday Date\u003c/strong>\u003c/em> (Hallmark, 12/14, 8 pmET)\u003c/p>\n\u003cp>Brooke brings an actor home to have her family \u003cstrong>meet her fake boyfriend\u003c/strong> over the holidays, something many many romcom characters have tried. And then she learns he’s Jewish and celebrates \u003cstrong>Hanukkah\u003c/strong>. \u003cstrong>Beloved celebrity \u003c/strong>Bruce Boxleitner!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Snowbound for Christmas \u003c/strong>\u003c/em>(UPTV, 12/15, 7 pmET)\u003c/p>\n\u003cp>This is actually based on a novella that I have read, by the terrific romance writer Shannon Stacey! (It was called \u003cem>Snowbound with the CEO.\u003c/em>) A boss brings his marketing executive to a pitch that will take place at a resort, and they are \u003cstrong>snowed in\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Rediscovering Christmas \u003c/strong>\u003c/em>(Lifetime, 12/15, 8 pmET)\u003c/p>\n\u003cp>Mia the big-city window dresser has to come back to \u003cstrong>help her hometown\u003c/strong> to help with the annual Snowflake festival!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Cheerful Christmas\u003c/strong>\u003c/em> (Hallmark, 12/15, 8 pmET)\u003c/p>\n\u003cp>A woman is hired as the “Christmas coach” to restore the \u003cstrong>missing Christmas spirit \u003c/strong>of someone who is somehow both a member of a \u003cstrong>royal family\u003c/strong> and a \u003cstrong>suit man\u003c/strong> at a company.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Christmas Temp \u003c/strong>\u003c/em>(Lifetime, 12/20, 8 pmET)\u003c/p>\n\u003cp>There is a “Christmas temp agency” in this movie because \u003cstrong>everybody cares too much about Christmas\u003c/strong>, and it has an HR manager for whom the titular Christmas Temp has “feelings.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Love Letter \u003c/strong>\u003c/em>(Lifetime, 12/21, 6 pmET)\u003c/p>\n\u003cp>A relationship advice columnist goes back home to figure out who wrote her an anonymous love letter. Information is limited, but based on the promotional photo, I can add \u003cstrong>Moppet\u003c/strong>!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Hotel \u003c/strong>\u003c/em>(Lifetime, 12/21, 8 pmET)\u003c/p>\n\u003cp>Garland Grove (where this takes place) is all about Christmas 12 months a year, making it the ultimate \u003cstrong>everybody cares too much about Christmas \u003c/strong>situation. Erin (Tatyana Ali) is in charge of developing a new hotel and \u003cstrong>help her hometown\u003c/strong>, so she makes it a Christmas Hotel to please the locals. Her \u003cstrong>old flame \u003c/strong>helps her find her \u003cstrong>missing Christmas spirit\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>It’s Beginning to Look a Lot Like Christmas\u003c/strong>\u003c/em> (Hallmark, 12/21, 8 pmET)\u003c/p>\n\u003cp>No description except a photo of a man in a sweater looking hopefully upward.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Christmas Wedding Runaway\u003c/strong>\u003c/em> (UPTV, 12/22, 7 pmET)\u003c/p>\n\u003cp>A soon-to-be bride is \u003cstrong>snowed in\u003c/strong> with her Grandma and an \u003cstrong>old flame\u003c/strong>. In the promotional photo, one guy is wearing glasses and a suit and the other guy is scruffy with a flannel shirt, so I’m pretty sure the flannel shirt guy will win, even on UPTV.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Double Holiday\u003c/strong>\u003c/em> (Hallmark, 12/22, 8 pmET)\u003c/p>\n\u003cp>Rebecca, who celebrates \u003cstrong>Hanukkah\u003c/strong>, is thrown together with Chris, who celebrates Christmas, to carry out some \u003cstrong>event planning\u003c/strong> around the office holiday party. Naturally they fall in love, even though they’re \u003cstrong>professional competitors\u003c/strong>.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>A Date By Christmas Eve \u003c/strong>\u003c/em>(Lifetime, 12/22, 8 pmET)\u003c/p>\n\u003cp>A woman gets magical powers from the \u003cstrong>actual supernatural forces \u003c/strong>within a dating app and accidentally adds her kindly neighbor to the naughty list, and do not get me started.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Baby in a Manger \u003c/strong>\u003c/em>(UPTV, 12/24, 7 pmET)\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/UqM_QMFOHkg'\n title='//www.youtube.com/embed/UqM_QMFOHkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Someone has abandoned a baby in a nativity scene (a little on the nose), so a social worker and a police officer work to find the baby’s mother. I can’t even figure out what they want you to root for!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>New Year, New Me \u003c/strong>\u003c/em>(Hallmark, 12/28, 8 pmET)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! San Francisco ‘Crime’ at the Victoria and French Crime at the Roxie",
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"content": "\u003cp>We’re taking a ride in the wayback machine this week, starting with a blast from the Mabuhay Gardens’ past. Dozens of local punk and rock bands played the North Beach club in the ’70s and ’80s, but only Crime had a member (drummer Henry Rosenthal a.k.a. Hank Rank) with the foresight to painstakingly preserve performance footage—shot on 16mm in 1978 for Larry Larson’s cable access show \u003ci>In Review\u003c/i>—of his band.\u003c/p>\n\u003cp>Rosenthal went on to become the Bay Area’s preeminent independent film producer, so he knows something about years-in-gestation movie projects. At long last, he and director-editor Jon Bastian have turned that raw vintage celluloid into \u003cem>Crime 1978\u003c/em>, a document of the times that packs 11 Crime songs and Dirk Dirksen, the late Mabuhay booker and caustic emcee, into 35 minutes.\u003c/p>\n\u003cp>To tout the DVD and vinyl soundtrack releases, \u003cem>Crime 1978\u003c/em> screens Nov. 14 at the Victoria Theatre. The movie is the centerpiece of a rock variety show, with Rosenthal and Bastian regaling the crowd with anecdotes and original Crime bassist Ron “The Ripper” Greco playing a couple numbers. Oh yeah, the bill also includes another ’70s concert film, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>. \u003ca href=\"https://www.eventbrite.com/e/cops-vs-aliens-an-evening-of-rocknroll-film-wcrime-1978-ziggy-stardust-tickets-73310233883\" rel=\"noopener\" target=\"_blank\">Cops Vs. Aliens: An Evening of Rock ’n’ Roll Film\u003c/a> kicks out the jams at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_13869736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg\" alt=\"Still from 'Crime 1978,' Ginger Coyote and a fan. \" width=\"1200\" height=\"847\" class=\"size-full wp-image-13869736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crime 1978,’ Ginger Coyote and a fan. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going even further back, Don Malcolm’s vast, multi-part excavation of postwar French noir, neo-noir and second-cousin-by-marriage noir has finally run out of Renault-wrecked road. \u003ca href=\"https://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-6/?instance_id=37821\" rel=\"noopener\" target=\"_blank\">The French had a Name for It 6: The Sixties and the End of the Line\u003c/a> packs five days with 15 flicks filled with Gitanes and slick suits, and more than a little sunbathing.\u003c/p>\n\u003cp>Malcolm’s selections remind us, more than anything, that the French film industry wasn’t totally transformed overnight by the Nouvelle Vague successes of Claude Chabrol, François Truffaut and Jean-Luc Godard (who is represented here with 1963’s \u003cem>Le Petit Soldat\u003c/em>). The retrospective includes several mainstream films that are traditional in form and structure, even if they adopted New Wave markers like location shooting and young stars with devil-may-care attitudes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series opener, \u003cem>La Corde Raide\u003c/em> (\u003cem>Lovers on a Tightrope\u003c/em>, 1960) toplines Annie Girardot just a few months before her international breakthrough in Luchino Visconti’s \u003cem>Rocco and His Brothers\u003c/em>. She’s married to an affluent businessman but in love with a hunky mechanic who, wouldn’t you know it, has an ulterior motive. Incidentally, what was the last movie you saw in which the female lead broke a heel running on the sidewalk?\u003c/p>\n\u003cfigure id=\"attachment_13869737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg\" alt=\"Still from 'Objectif: 500 Millions,' 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\" width=\"1200\" height=\"879\" class=\"size-full wp-image-13869737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-1020x747.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Objectif: 500 Millions,’ 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Melodie en Sous-Sol\u003c/em> (\u003cem>Any Number Can Win\u003c/em>, 1963) casts another next-generation star, Alain Delon, opposite French monument Jean Gabin to enjoyable though curious effect. The stars only have a couple scenes together through the film’s first hour; it’s almost like they’re in different movies for different audiences. Yet the pairing of the calm, cool icon with the jittery rebel without a cause fits the movie’s underlying theme, namely the inevitably of change that accompanies the passage of time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fresh-out-the-slammer thief (Gabin) needing one last big score to retire to Canberra (!) enlists a former cellmate (Delon) in a plan to rip off a Cannes casino. Savor the rear-screen projection of Delon driving a sports car along the Riviera with his sunglasses on, smiling at everyone, and every other delicious moment in this stylish soufflé. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re taking a ride in the wayback machine this week, starting with a blast from the Mabuhay Gardens’ past. Dozens of local punk and rock bands played the North Beach club in the ’70s and ’80s, but only Crime had a member (drummer Henry Rosenthal a.k.a. Hank Rank) with the foresight to painstakingly preserve performance footage—shot on 16mm in 1978 for Larry Larson’s cable access show \u003ci>In Review\u003c/i>—of his band.\u003c/p>\n\u003cp>Rosenthal went on to become the Bay Area’s preeminent independent film producer, so he knows something about years-in-gestation movie projects. At long last, he and director-editor Jon Bastian have turned that raw vintage celluloid into \u003cem>Crime 1978\u003c/em>, a document of the times that packs 11 Crime songs and Dirk Dirksen, the late Mabuhay booker and caustic emcee, into 35 minutes.\u003c/p>\n\u003cp>To tout the DVD and vinyl soundtrack releases, \u003cem>Crime 1978\u003c/em> screens Nov. 14 at the Victoria Theatre. The movie is the centerpiece of a rock variety show, with Rosenthal and Bastian regaling the crowd with anecdotes and original Crime bassist Ron “The Ripper” Greco playing a couple numbers. Oh yeah, the bill also includes another ’70s concert film, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>. \u003ca href=\"https://www.eventbrite.com/e/cops-vs-aliens-an-evening-of-rocknroll-film-wcrime-1978-ziggy-stardust-tickets-73310233883\" rel=\"noopener\" target=\"_blank\">Cops Vs. Aliens: An Evening of Rock ’n’ Roll Film\u003c/a> kicks out the jams at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_13869736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg\" alt=\"Still from 'Crime 1978,' Ginger Coyote and a fan. \" width=\"1200\" height=\"847\" class=\"size-full wp-image-13869736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crime 1978,’ Ginger Coyote and a fan. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going even further back, Don Malcolm’s vast, multi-part excavation of postwar French noir, neo-noir and second-cousin-by-marriage noir has finally run out of Renault-wrecked road. \u003ca href=\"https://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-6/?instance_id=37821\" rel=\"noopener\" target=\"_blank\">The French had a Name for It 6: The Sixties and the End of the Line\u003c/a> packs five days with 15 flicks filled with Gitanes and slick suits, and more than a little sunbathing.\u003c/p>\n\u003cp>Malcolm’s selections remind us, more than anything, that the French film industry wasn’t totally transformed overnight by the Nouvelle Vague successes of Claude Chabrol, François Truffaut and Jean-Luc Godard (who is represented here with 1963’s \u003cem>Le Petit Soldat\u003c/em>). The retrospective includes several mainstream films that are traditional in form and structure, even if they adopted New Wave markers like location shooting and young stars with devil-may-care attitudes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>La Corde Raide\u003c/em> (\u003cem>Lovers on a Tightrope\u003c/em>, 1960) toplines Annie Girardot just a few months before her international breakthrough in Luchino Visconti’s \u003cem>Rocco and His Brothers\u003c/em>. She’s married to an affluent businessman but in love with a hunky mechanic who, wouldn’t you know it, has an ulterior motive. Incidentally, what was the last movie you saw in which the female lead broke a heel running on the sidewalk?\u003c/p>\n\u003cfigure id=\"attachment_13869737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg\" alt=\"Still from 'Objectif: 500 Millions,' 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\" width=\"1200\" height=\"879\" class=\"size-full wp-image-13869737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-1020x747.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Objectif: 500 Millions,’ 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Melodie en Sous-Sol\u003c/em> (\u003cem>Any Number Can Win\u003c/em>, 1963) casts another next-generation star, Alain Delon, opposite French monument Jean Gabin to enjoyable though curious effect. The stars only have a couple scenes together through the film’s first hour; it’s almost like they’re in different movies for different audiences. Yet the pairing of the calm, cool icon with the jittery rebel without a cause fits the movie’s underlying theme, namely the inevitably of change that accompanies the passage of time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fresh-out-the-slammer thief (Gabin) needing one last big score to retire to Canberra (!) enlists a former cellmate (Delon) in a plan to rip off a Cannes casino. Savor the rear-screen projection of Delon driving a sports car along the Riviera with his sunglasses on, smiling at everyone, and every other delicious moment in this stylish soufflé. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The South Korean movie \u003cem>Parasite\u003c/em>, a tale of the rich Park family and the poor Kim family, is an international sensation — partly because of universal themes like the conflict between haves and have-nots. But certain elements of \u003cem>Parasite\u003c/em> are specifically South Korean, including its architecture.\u003c/p>\n\u003cp>“When I was little, I did live in a house at one point, but mostly I grew up in apartment complexes,” says director Bong Joon-ho, who spoke with NPR through an interpreter at the Culver City, Calif. offices. “So I mostly lived on the ninth floor, the 13th floor, so I lived mid-air. In Korea during the 1970s and ’80s, apartment complexes symbolized the middle class.”\u003c/p>\n\u003cp>You don’t see much of the middle class in \u003cem>Parasite\u003c/em>. Its action toggles from a gleaming modernist mansion floating in the hills above Seoul to a squalid basement apartment.\u003c/p>\n\u003cp>Gina Kim, a professor at UCLA \u003ca href=\"http://www.ginakimfilms.com/\">and filmmaker\u003c/a> originally from South Korea, notes that similar mansions can be found nearly anywhere in the world: Berlin, Dubai, Westchester County in New York. But the semi-basement apartment is particular to Seoul, she says: It dates from the days of the nuclear standoff between the United States and the Soviet Union.\u003c/p>\n\u003cp>“Everyone was paranoid after the Korean War, and they started to build bunkers in all the buildings, even in big apartment buildings,” she says. “So that space depicted in the film, the semi-basement, is a bunker in a way, and it was used as a bunker in the 1970s.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s more than one bunker in the movie, but the semi-basement bunker is the primary home for the Kim family, who serve, more or less, as \u003cem>Parasite\u003c/em>‘s anti-heroes. Renting out such semi-basements as residences was illegal for a long time, Kim says. They were filled with mold and pests, and prone to floods; people who lived there developed chronic coughs and skin conditions.\u003c/p>\n\u003cp>But over just a few decades, South Korea went from being one of the world’s poorest economies to the eleventh-largest. Kim says the government was compelled to legalize these semi-underground apartments to accommodate workers pouring in. That doesn’t mean they became desirable.\u003c/p>\n\u003cp>“People can look into them,” Kim says. “People pee on the windows. People park their cars [in front of them], blocking whatever little sunlight they have.” \u003c/p>\n\u003cp>Boon Jong-ho says the family in the basement wants to improve their situation, but they’re mired in the muck — literally and figuratively. \u003c/p>\n\u003cp>“These semi-basement homes are only half underground. That’s very similar to the psychology of our protagonists,” he says. “We became a wealthy country very fast. And people who weren’t able to board that fast train towards wealth, they feel lost. And they feel a sense of inferiority.”\u003c/p>\n\u003cp>“The economy is not just about numbers,” he says. “It also carries a lot of emotion as well.” \u003c/p>\n\u003cp>These themes have played out in Bong’s earlier films, \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">especially his 2013 class parable\u003c/a> \u003cem>Snowpiercer\u003c/em>, as well as in South Korean popular culture more generally. Gina Kim points to a 2008 indie rock hit “Cheap Coffee” by Chang Kiha, which speaks to young people failed by dreams of class mobility. \u003c/p>\n\u003cp>https://youtu.be/LwSnYGXZ808\u003c/p>\n\u003cp>Her translation of the opening lyrics:\u003c/p>\n\u003cblockquote>\n\u003cp>I drink cheap coffee\u003cbr>It’s not even lukewarm and I get heartburn\u003cbr>My feet get stuck on the clammy linoleum floor and make a loud thud as they separate from the floor.\u003cbr>A cockroach skitters by but I don’t even care\u003cbr>I just wonder why my cough doesn’t stop in dark mornings.\u003c/p>\n\u003c/blockquote>\n\u003cp>The metaphors here, Kim says, are not especially subtle. But then again, neither is the story — in \u003cem>Parasite\u003c/em> and around the world — of structural inequality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hit+Movie+%27Parasite%27+Puts+Basement+Structures+In+Structural+Inequality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The South Korean movie \u003cem>Parasite\u003c/em>, a tale of the rich Park family and the poor Kim family, is an international sensation — partly because of universal themes like the conflict between haves and have-nots. But certain elements of \u003cem>Parasite\u003c/em> are specifically South Korean, including its architecture.\u003c/p>\n\u003cp>“When I was little, I did live in a house at one point, but mostly I grew up in apartment complexes,” says director Bong Joon-ho, who spoke with NPR through an interpreter at the Culver City, Calif. offices. “So I mostly lived on the ninth floor, the 13th floor, so I lived mid-air. In Korea during the 1970s and ’80s, apartment complexes symbolized the middle class.”\u003c/p>\n\u003cp>You don’t see much of the middle class in \u003cem>Parasite\u003c/em>. Its action toggles from a gleaming modernist mansion floating in the hills above Seoul to a squalid basement apartment.\u003c/p>\n\u003cp>Gina Kim, a professor at UCLA \u003ca href=\"http://www.ginakimfilms.com/\">and filmmaker\u003c/a> originally from South Korea, notes that similar mansions can be found nearly anywhere in the world: Berlin, Dubai, Westchester County in New York. But the semi-basement apartment is particular to Seoul, she says: It dates from the days of the nuclear standoff between the United States and the Soviet Union.\u003c/p>\n\u003cp>“Everyone was paranoid after the Korean War, and they started to build bunkers in all the buildings, even in big apartment buildings,” she says. “So that space depicted in the film, the semi-basement, is a bunker in a way, and it was used as a bunker in the 1970s.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s more than one bunker in the movie, but the semi-basement bunker is the primary home for the Kim family, who serve, more or less, as \u003cem>Parasite\u003c/em>‘s anti-heroes. Renting out such semi-basements as residences was illegal for a long time, Kim says. They were filled with mold and pests, and prone to floods; people who lived there developed chronic coughs and skin conditions.\u003c/p>\n\u003cp>But over just a few decades, South Korea went from being one of the world’s poorest economies to the eleventh-largest. Kim says the government was compelled to legalize these semi-underground apartments to accommodate workers pouring in. That doesn’t mean they became desirable.\u003c/p>\n\u003cp>“People can look into them,” Kim says. “People pee on the windows. People park their cars [in front of them], blocking whatever little sunlight they have.” \u003c/p>\n\u003cp>Boon Jong-ho says the family in the basement wants to improve their situation, but they’re mired in the muck — literally and figuratively. \u003c/p>\n\u003cp>“These semi-basement homes are only half underground. That’s very similar to the psychology of our protagonists,” he says. “We became a wealthy country very fast. And people who weren’t able to board that fast train towards wealth, they feel lost. And they feel a sense of inferiority.”\u003c/p>\n\u003cp>“The economy is not just about numbers,” he says. “It also carries a lot of emotion as well.” \u003c/p>\n\u003cp>These themes have played out in Bong’s earlier films, \u003ca href=\"https://www.npr.org/2014/06/29/326154752/in-snowpiercer-a-never-ending-train-ride-and-a-society-badly-off-track\">especially his 2013 class parable\u003c/a> \u003cem>Snowpiercer\u003c/em>, as well as in South Korean popular culture more generally. Gina Kim points to a 2008 indie rock hit “Cheap Coffee” by Chang Kiha, which speaks to young people failed by dreams of class mobility. \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/LwSnYGXZ808'\n title='//www.youtube.com/embed/LwSnYGXZ808'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Her translation of the opening lyrics:\u003c/p>\n\u003cblockquote>\n\u003cp>I drink cheap coffee\u003cbr>It’s not even lukewarm and I get heartburn\u003cbr>My feet get stuck on the clammy linoleum floor and make a loud thud as they separate from the floor.\u003cbr>A cockroach skitters by but I don’t even care\u003cbr>I just wonder why my cough doesn’t stop in dark mornings.\u003c/p>\n\u003c/blockquote>\n\u003cp>The metaphors here, Kim says, are not especially subtle. But then again, neither is the story — in \u003cem>Parasite\u003c/em> and around the world — of structural inequality.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited the broadcast version of this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hit+Movie+%27Parasite%27+Puts+Basement+Structures+In+Structural+Inequality&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Keanu Reeves, Dennis Quaid and Our National Obsession With Women’s Age",
"headTitle": "Keanu Reeves, Dennis Quaid and Our National Obsession With Women’s Age | KQED",
"content": "\u003cp>[dropcap]K[/dropcap]eanu Reeves stepped out over the weekend holding hands with artist and longtime friend, \u003ca href=\"https://alexandragrant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Grant\u003c/a>. The new couple’s debut at the LACMA Art and Film Gala prompted an immediate, enthusiastic response on social media that was centered around two things: The public desire to see Keanu Reeves happy after a litany of \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/how-unbearable-grief-saw-keanu-20814493\" target=\"_blank\" rel=\"noopener noreferrer\">personal tragedies\u003c/a>, and the fact that Grant is in her forties.\u003c/p>\n\u003cp>https://twitter.com/Travon/status/1191543326706561025\u003c/p>\n\u003cp>https://twitter.com/AngryBlackLady/status/1191526193121513472\u003c/p>\n\u003cp>https://twitter.com/MissBrittHayes/status/1191515987566383104\u003c/p>\n\u003cp>The 55-year-old actor’s decision to date a 46-year-old woman with grey hair was seen by a majority of commenters as a badge of honor, and further confirmation that Reeves is one of the good ones. This reaction was in direct contrast to how the world simultaneously greeted the news that Dennis Quaid, age 65, is engaged to 26-year-old Laura Savoie.\u003c/p>\n\u003cp>https://twitter.com/megweiss13/status/1189280467264196609\u003c/p>\n\u003cp>https://twitter.com/theflans/status/1191190014115364865\u003c/p>\n\u003cp>https://twitter.com/OliviaJRowe/status/1191574822930788352\u003c/p>\n\u003cp>Our obsession with \u003ca href=\"https://www.thetalko.com/the-20-biggest-age-difference-couples-in-hollywood/\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood age gaps\u003c/a> is nothing new. And though Sarah Paulson has received her \u003ca href=\"https://www.oprahmag.com/entertainment/a27043410/sarah-paulson-holland-taylor-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">fair share of scrutiny\u003c/a> for her relationship with Holland Taylor, 32 years her senior, and Demi Moore raised some eyebrows when she married Ashton Kutcher, this is a conversation that almost always focuses on famous men and their girlfriends.\u003c/p>\n\u003cp>The problem is, while these discussions are usually dressed up as either critiques or endorsements of the male celebrities in question, judging them on the ages of the women they date reinforces ideas about female partners as trophies; accessories that serve only to reflect the men they’re attached to. [aside postid='pop_104230']\u003c/p>\n\u003cp>To make matters worse, basing our judgements on the ages of these women in relation to their partners suggests that even in 2019, a woman is defined first by her relationship, then by her age, then by her actual accomplishments. When Dennis Quaid and his current girlfriend are discussed, it comes up only in the footnotes that Savoie is a PhD student who already has a bachelor’s degree in accounting. No one seems all that interested in the fact that she clearly has ambitions beyond her famous boyfriend.\u003c/p>\n\u003cp>The cultural tendency to correlate a woman’s value with her age leaves women at the mercy of inconstant ideas around youth and beauty, versus maturity and experience—and that dichotomy invites insecurities for all. Regardless of which end of the scale women fall on, they can’t win. If you’re young, you’re hot but you don’t know enough yet; if you’re older, you’re smart but less physically desirable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\n\u003cp>https://twitter.com/h_tucks/status/1191670750438133761\u003c/p>\n\u003cp>https://twitter.com/_sophiedarling/status/1191788480319365120\u003c/p>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. One wrote: “Because I have other professions open to me in which the hours are shorter, the work more agreeable, and the pay possibly better.” Another replied: “I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”\u003c/p>\n\u003cp>Even when it’s well-intentioned, when we continue to judge famous men for the relationships they’re in, what we’re also doing is reminding women that much of their value continues to be assessed through the lens of both their romantic lives and their ages. What’s more, assuming men have all the onus over these relationships strips their wives and girlfriends of agency, as if these women had no hand in their own relationship status, or choice of partner.\u003c/p>\n\u003cp>In the end, passing judgement over partnerships between anyone, regardless of profession, or age, or sexuality, or race is utterly pointless. People will love who they want to love. Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">K\u003c/span>\u003c/p>\u003cp>eanu Reeves stepped out over the weekend holding hands with artist and longtime friend, \u003ca href=\"https://alexandragrant.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Alexandra Grant\u003c/a>. The new couple’s debut at the LACMA Art and Film Gala prompted an immediate, enthusiastic response on social media that was centered around two things: The public desire to see Keanu Reeves happy after a litany of \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/how-unbearable-grief-saw-keanu-20814493\" target=\"_blank\" rel=\"noopener noreferrer\">personal tragedies\u003c/a>, and the fact that Grant is in her forties.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The 55-year-old actor’s decision to date a 46-year-old woman with grey hair was seen by a majority of commenters as a badge of honor, and further confirmation that Reeves is one of the good ones. This reaction was in direct contrast to how the world simultaneously greeted the news that Dennis Quaid, age 65, is engaged to 26-year-old Laura Savoie.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Our obsession with \u003ca href=\"https://www.thetalko.com/the-20-biggest-age-difference-couples-in-hollywood/\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood age gaps\u003c/a> is nothing new. And though Sarah Paulson has received her \u003ca href=\"https://www.oprahmag.com/entertainment/a27043410/sarah-paulson-holland-taylor-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">fair share of scrutiny\u003c/a> for her relationship with Holland Taylor, 32 years her senior, and Demi Moore raised some eyebrows when she married Ashton Kutcher, this is a conversation that almost always focuses on famous men and their girlfriends.\u003c/p>\n\u003cp>The problem is, while these discussions are usually dressed up as either critiques or endorsements of the male celebrities in question, judging them on the ages of the women they date reinforces ideas about female partners as trophies; accessories that serve only to reflect the men they’re attached to. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To make matters worse, basing our judgements on the ages of these women in relation to their partners suggests that even in 2019, a woman is defined first by her relationship, then by her age, then by her actual accomplishments. When Dennis Quaid and his current girlfriend are discussed, it comes up only in the footnotes that Savoie is a PhD student who already has a bachelor’s degree in accounting. No one seems all that interested in the fact that she clearly has ambitions beyond her famous boyfriend.\u003c/p>\n\u003cp>The cultural tendency to correlate a woman’s value with her age leaves women at the mercy of inconstant ideas around youth and beauty, versus maturity and experience—and that dichotomy invites insecurities for all. Regardless of which end of the scale women fall on, they can’t win. If you’re young, you’re hot but you don’t know enough yet; if you’re older, you’re smart but less physically desirable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A further reflection of this arrived over the weekend, when even \u003ca href=\"https://www.kqed.org/pop/68229/why-does-emma-watsons-feminism-irritate-so-many-people\" target=\"_blank\" rel=\"noopener noreferrer\">outspoken feminist\u003c/a> Emma Watson admitted to feeling crappy about her age as it pertains to her relationship status. “Cut to 29,” she told \u003ca href=\"https://www.vogue.co.uk/news/article/emma-watson-on-fame-activism-little-women\" target=\"_blank\" rel=\"noopener noreferrer\">British \u003cem>Vogue\u003c/em>\u003c/a>, “and I’m like, ‘Oh my God, I feel so stressed and anxious.’ And I realize it’s because there is suddenly this bloody influx of subliminal messaging around. If you have not built a home, if you do not have a husband, if you do not have a baby, and you are turning 30 … There’s just this incredible amount of anxiety.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/104230/how-pop-culture-gave-generations-of-women-a-fear-of-40\" target=\"_blank\" rel=\"noopener noreferrer\">Single women over 40\u003c/a> may scoff at how Watson feels about 30, but her decision to identify as “self-partnered” instead of “single,” in order to feel more empowered about her own status is a move that has been warmly welcomed by thousands of women online.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Women being defined by their relationship statuses is an old problem that stretches beyond age. As Kate Bolick pointed out in 2015’s \u003ca href=\"https://www.amazon.com/Spinster-Making-Life-Ones-Own/dp/0385347154\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spinster\u003c/em>\u003c/a>, “Whom to marry and when will it happen—these two questions define every woman’s existence, regardless of where she was raised or what religion she does or doesn’t practice. She may grow up to love women instead of men, or to decide she simply doesn’t believe in marriage. No matter.”\u003c/p>\n\u003cp>This, despite the fact that women have been pushing back against these confinements for at least a century. All the way back in 1889, for example, when \u003ca href=\"https://twitter.com/digivictorian/status/964842367508516864?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tit-Bits\u003c/em> magazine\u003c/a> asked women why they were spinsters, the responses were sharp, bordering on acerbic. One wrote: “Because I have other professions open to me in which the hours are shorter, the work more agreeable, and the pay possibly better.” Another replied: “I find the animal man less docile than a dog, less affectionate than a cat, and less amusing than a monkey.”\u003c/p>\n\u003cp>Even when it’s well-intentioned, when we continue to judge famous men for the relationships they’re in, what we’re also doing is reminding women that much of their value continues to be assessed through the lens of both their romantic lives and their ages. What’s more, assuming men have all the onus over these relationships strips their wives and girlfriends of agency, as if these women had no hand in their own relationship status, or choice of partner.\u003c/p>\n\u003cp>In the end, passing judgement over partnerships between anyone, regardless of profession, or age, or sexuality, or race is utterly pointless. People will love who they want to love. Griping about it helps nobody.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sri Lanka’s most successful independent filmmaker, Prasanna Vithanage, has managed to thrive in an environment where Hollywood and Bollywood claim the lion’s share of his country’s theaters. Remarkably, Vithanage connects with audiences without sacrificing social commentary, artistic integrity or subtle restraint, despite (or because of) chronic budget constraints.\u003c/p>\n\u003cp>Direct from its world premiere in October in Busan, Vithanage’s latest engrossing saga, \u003cem>Children of the Sun\u003c/em> (\u003cem>Gaadi\u003c/em>), screens Saturday, Nov. 9, in \u003ca href=\"https://www.thirdi.org\" rel=\"noopener\" target=\"_blank\">3rd i’s 17th Annual San Francisco International South Asian Film Festival: Bollywood and Beyond\u003c/a>. (Yes, SFISAFF holds the record for Bay Area Film Festival with the Longest Name.). Set in then-Ceylon in 1814, the film portrays how the schemes of the haves (the British army and Sinhala nobles) to oust the Tamil king bring havoc to themselves and the have-nots.\u003c/p>\n\u003cp>The daughter of an aristocrat is punished for her father’s disloyalty; given the impossible choice of honor-saving suicide or marriage to an “outcast,” Tikiri (Dinara Punchihewa) opts for the latter. Claimed by the uncommonly virtuous Vijaya (Sajitha Anuththara), Tikiri and the film itself leave the family manor and fine period costumes for rags and the insecurity of living off the land.\u003c/p>\n\u003cp>Tikiri is understandably slow to warm to Vijaya, although her stubbornness is borne of ingrained prejudice and privilege. “The movie questions identity in a world where people are polarized on various lines, in a time when identity politics has come to the foreground,” Vithanage told an interviewer when \u003cem>Children of the Sun\u003c/em> debuted. “And I thought the period setting was a reflection of the times we live in.”\u003c/p>\n\u003cp>Vithanage, who will be on hand for the Castro Theatre screening, needs only a few scenes to convey the arrogance and barbarism of British colonialism, and even less to evoke the horrific recent Sri Lankan civil war. His big-picture worldview is intertwined with Vijaya and Tikiri’s ground-level realization that they’ll need to trust each other if they are to survive in the forest. \u003cem>Children of the Sun\u003c/em> puts us in mind of Adam and Eve, albeit with a more hopeful ending.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International South Asian Film Festival runs Thursday–Sunday, Nov. 7–10, at the New People and Castro Theaters and Nov. 16 at the Palo Alto Art Center. \u003ca href=\"https://www.thirdi.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sri Lanka’s most successful independent filmmaker, Prasanna Vithanage, has managed to thrive in an environment where Hollywood and Bollywood claim the lion’s share of his country’s theaters. Remarkably, Vithanage connects with audiences without sacrificing social commentary, artistic integrity or subtle restraint, despite (or because of) chronic budget constraints.\u003c/p>\n\u003cp>Direct from its world premiere in October in Busan, Vithanage’s latest engrossing saga, \u003cem>Children of the Sun\u003c/em> (\u003cem>Gaadi\u003c/em>), screens Saturday, Nov. 9, in \u003ca href=\"https://www.thirdi.org\" rel=\"noopener\" target=\"_blank\">3rd i’s 17th Annual San Francisco International South Asian Film Festival: Bollywood and Beyond\u003c/a>. (Yes, SFISAFF holds the record for Bay Area Film Festival with the Longest Name.). Set in then-Ceylon in 1814, the film portrays how the schemes of the haves (the British army and Sinhala nobles) to oust the Tamil king bring havoc to themselves and the have-nots.\u003c/p>\n\u003cp>The daughter of an aristocrat is punished for her father’s disloyalty; given the impossible choice of honor-saving suicide or marriage to an “outcast,” Tikiri (Dinara Punchihewa) opts for the latter. Claimed by the uncommonly virtuous Vijaya (Sajitha Anuththara), Tikiri and the film itself leave the family manor and fine period costumes for rags and the insecurity of living off the land.\u003c/p>\n\u003cp>Tikiri is understandably slow to warm to Vijaya, although her stubbornness is borne of ingrained prejudice and privilege. “The movie questions identity in a world where people are polarized on various lines, in a time when identity politics has come to the foreground,” Vithanage told an interviewer when \u003cem>Children of the Sun\u003c/em> debuted. “And I thought the period setting was a reflection of the times we live in.”\u003c/p>\n\u003cp>Vithanage, who will be on hand for the Castro Theatre screening, needs only a few scenes to convey the arrogance and barbarism of British colonialism, and even less to evoke the horrific recent Sri Lankan civil war. His big-picture worldview is intertwined with Vijaya and Tikiri’s ground-level realization that they’ll need to trust each other if they are to survive in the forest. \u003cem>Children of the Sun\u003c/em> puts us in mind of Adam and Eve, albeit with a more hopeful ending.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco International South Asian Film Festival runs Thursday–Sunday, Nov. 7–10, at the New People and Castro Theaters and Nov. 16 at the Palo Alto Art Center. \u003ca href=\"https://www.thirdi.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Emilia Clarke on 'Last Christmas,' Brexit and Life After 'Game of Thrones'",
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"content": "\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z9CEIcmWmtA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new romantic comedy \u003cem>Last Christmas\u003c/em>, Emilia Clarke plays Kate. She dresses like an elf, she works in a year-round Christmas-ornament shop and her life is a mess.\u003c/p>\n\u003cp>Enter the dashing Tom, played by Henry Golding (\u003ca href=\"https://www.npr.org/2018/08/22/640793631/crazy-rich-asians-changes-how-asian-males-are-viewed\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>). He’s handsome, kind and quirky—but, of course, there is something elusive about him.\u003c/p>\n\u003cp>The movie is set to \u003ca href=\"https://www.npr.org/artists/506983447/george-michael\">George Michael\u003c/a> tunes and co-stars (and is co-written by) Emma Thompson. It takes place in a glittering, wintry London.\u003c/p>\n\u003cp>“We shot it last Christmas, in fact,” Clarke says. “And we shot it in the middle of the night, largely speaking, because on Regent Street, if you were to do it in any other time it would be rammed with tourists. And so to do that, we had to we had to use the available light. So the only light that we could bring was soft light, and so we just brought an obscene amount of fairy lights. So the London that you see in our movie is already beautiful—and then we made it 10 times sparklier.”\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/z9CEIcmWmtA'\n title='//www.youtube.com/embed/z9CEIcmWmtA'\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>Clarke spoke on her character Kate, singing in the movie and what’s next after \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character, Kate\u003c/strong>\u003c/p>\n\u003cp>No, she’s not the mother of dragons. She’s got mother-of-dragon tendencies … Yeah, so Kate—she is your anti-heroine. We’re quite used to seeing, I think, in rom-coms a sort of perfect depiction of a young lady—and that ain’t Kate. And it’s in her flaws, is where she becomes so relatable. So she is struggling to get herself together, and she’s struggling to take care of herself, she’s struggling to take care of those around her, not really accepting help, kind of. You can tell she’s hiding from something, and life isn’t bringing her much joy when we first meet her. But she is trying.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s mom, a refugee played by “the glorious Emma Thompson”\u003c/strong>\u003c/p>\n\u003cp>Emma co-wrote this with her husband Greg Wise, and the character that Emma plays is loosely based on Greg’s mom. And she is really struggling to find peace in the United Kingdom, which they have fled to because her memories of where she had to run from—former Yugoslavia and the war that they escaped—kind of haunt her every single day, and lead her to be slightly more anxious and worried and vocal.\u003c/p>\n\u003cp>\u003cstrong>On singing in the movie\u003c/strong>\u003c/p>\n\u003cp>Oh, it was incredibly nerve-wracking, because I care so much about singing, and I’m genuinely at my happiest when I am singing. However: Doing it on camera in front of a lot of people, and doing it, you know, with \u003ca href=\"https://www.youtube.com/watch?v=E8gmARGvPlI\">George’s perfect song\u003c/a> was—every time before I sing I just think I’m getting tonsillitis, or my throat is closing up or something. So it took a lot of courage, but I got there.\u003c/p>\n\u003cp>\u003cstrong>On Kate’s health issues and how they relate to her own, \u003c/strong>\u003ca href=\"https://www.newyorker.com/culture/personal-history/emilia-clarke-a-battle-for-my-life-brain-aneurysm-surgery-game-of-thrones\">\u003cstrong>which she recently disclosed\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>I wouldn’t say it was the defining thing that brought me to [the movie]. Dame Emma Thompson probably was that. But it definitely allowed me to bring quite a lot of truth to what Kate’s struggles were, because for Kate she had her health crisis in her early 20s, and that’s when I had mine too. And that time for any young person is incredibly intimidating.\u003c/p>\n\u003cp>\u003cstrong>On the depictions of immigrants and Brexit in the movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Well, we’re showing a movie that is now, that is today. And I don’t think that Emma or Greg could have written something about London today without mentioning it, without having it. And they’re both politically outspoken, and care deeply about the refugee crisis, and care deeply about Brexit, and about inclusivity and community and the diverse multicultural thing that is London.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Yeah. What are your views on Brexit?\u003c/p>\n\u003cp>\u003cstrong>Clarke:\u003c/strong> Oh heavens, it’s heartbreaking. We’ve just heard now that \u003ca href=\"https://www.npr.org/2019/10/29/774573501/britain-braces-for-new-vote-in-december-that-could-ease-the-path-to-brexit\">we will have a snap election\u003c/a>, which I think is a very good thing indeed, because I think it’s going to put a full stop … maybe a comma after this very long, drawn-out situation we’ve been in since 2016, really. But I mean, I’m pathologically hopeful as a human being, and I’m pathologically hopeful that maybe we’ll just, you know, see the error of our ways, and remain, and just stay.\u003c/p>\n\u003cp>\u003cstrong>On what types of roles she’s seeking after \u003c/strong>\u003cstrong>\u003cem>Game of Thrones\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>So I’ve had the good fortune of being in this incredible show with this incredible character. And my goodness, if I were to get stereotyped as the mother of dragons, I could ask for worse. It’s really quite wonderful.\u003c/p>\n\u003cp>But what it’s left me with—after 10 years of seeing that, and being a part of that, and of doing quite big movies in my hiatuses and all of those things—is a yearning for a different sort of creative ownership. So I started my production company about three years ago—very, very quietly because I didn’t want it to go wrong and have it be public knowledge—and now I’ve got six or seven things on my slate that I’m writing and producing. And because there is—I mean, you know, the landscape has changed for young actresses and actors for the sort of roles that are out there. I struggle to find them, because the thing that I’ve learned from being on 10 years in the show is that the biggest luxury in life is time and space. So I wanted to take those two things, which I have very luckily been able to have now, and really consider what my next option is. Because I care about what I’m doing with my time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dana Cronin and D. Parvaz produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Emilia+Clarke+On+%27Last+Christmas%2C%27+Brexit+And+Life+After+%27Game+Of+Thrones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Stunning New 'Romeo & Juliet' to Open at the San Francisco Dance Film Festival",
"headTitle": "Stunning New ‘Romeo & Juliet’ to Open at the San Francisco Dance Film Festival | KQED",
"content": "\u003cp>At a time when societies are increasingly fractured along tribal lines, there may be no more potent a reflection of the personal costs of these conflicts than Shakespeare’s \u003cstrong>\u003cem>Romeo & Juliet\u003c/em>\u003c/strong>. Though the tale has been reinvented in countless ways, prepare to be torn to shreds by a new film version from Britain’s \u003ca href=\"https://www.balletboyz.com\" target=\"_blank\" rel=\"noopener\">BalletBoyz\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7XjMg1iPaZQ\u003c/p>\n\u003cp>Directors Michael Nunn and William Trevitt have swept Kenneth MacMillan’s dramatic ballet onto the streets of Budapest, and drafted a captivating cast from a young generation of stars at the Royal Ballet. Their staging injects new realism and intimacy into the classic work without sacrificing the grandeur and drama. They’ve driven the action along at a furious pace, trimming the darkly glorious Prokofiev score to a lean, mean, fighting 90 minutes, and unleashed the heavens on a pivotal fight scene—it’s sensual, adrenaline-pumping stuff.\u003c/p>\n\u003cfigure id=\"attachment_13869100\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>American audiences will get their first view of this \u003cstrong>\u003cem>\u003ca href=\"https://www.sfdancefilmfest.org/festival-films/2019-program/romeo-juliet/\" target=\"_blank\" rel=\"noopener\">Romeo & Juliet\u003c/a> \u003c/em>\u003c/strong>when it opens on Wednesday, Nov. 6, at the San Francisco Dance Film Festival, close to the time of the U.K. premiere. I caught up with Trevitt over the phone as he and Nunn prepared to fly to San Francisco for the opening. Both men danced for many years with the Royal before helming their own gutsy all-male contemporary troupe, and have earned accolades for their innovative \u003ca href=\"https://www.balletboyz.com/stage\" target=\"_blank\" rel=\"noopener\">stage\u003c/a> and \u003ca href=\"https://www.balletboyz.com/film\" target=\"_blank\" rel=\"noopener\">film\u003c/a> projects.\u003c/p>\n\u003cp>Of ballet on the big screen, Trevitt said, “Film opens up so much potential in an art form that can seem slightly frozen in time.” Restless cameras weave in and out of market square and ballroom crowds, pry into Juliet’s balcony and bedroom, and penetrate the gloom of the Capulet clan’s underground crypt. The dancers’ taut physiques may be sheathed in tights and pointe shoes, but their barely made-up faces register deep, often conflicting emotions with a refreshing naturalness.\u003c/p>\n\u003cfigure id=\"attachment_13869101\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Hayward as Juliet in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>The cast reflects the \u003ca href=\"https://www.pointemagazine.com/new-promotions-royal-ballet-2412894276.html\" target=\"_blank\" rel=\"noopener\">increasing diversity\u003c/a> of the Royal Ballet’s ranks—Francesca Hayward as Juliet, in particular, has made waves as \u003ca href=\"https://www.essence.com/articles/francesca-hayward-black-female-lead-cats/\" target=\"_blank\" rel=\"noopener\">one of the few black ballerinas\u003c/a> to be named a Principal dancer in a major classical ballet company. Her chemistry with William Bracewell’s boyish, impetuous Romeo is undeniable—yet at their first encounter, when he and his pals gatecrash the Capulets’ ball, the overwhelming sense from the camerawork is one of claustrophobia, as society closes in on the pair.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even as individual characters are finely etched, the framing of the action throughout the film reinforces the idea of the powerlessness of the individual in a monstrous feudal system. Juliet is just an impressionable teenager, and Romeo no more of a hero than his cocky pals (the exuberant Marcelino Sambé and James Hay), and they don’t fully comprehend the game in which they are pawns. The whirlwind infatuation and its deadly consequences could have been the fate of any of their peers: it’s presented as a tragedy of society more than the tragic love story of these two young people with horrible parents. That the grownups themselves feel trapped is evident in searing portrayals of the grief-stricken Lady Capulet by Kristen McNally, the chilling Lord Capulet by Christopher Saunders, the fiery Tybalt by Matthew Ball, and the conflicted Friar Laurence by Bennet Gartside.\u003c/p>\n\u003cfigure id=\"attachment_13869102\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Bracewell and Francesca Hayward in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Trevitt said, “We had some pushback from people early on saying, ‘You need to tell me which one is Romeo from the beginning, you need to show me a headshot so I can identify him.’ We said, ‘We don’t want to do it like that, we want to have this community where gradually one of the people is revealed because their storyline happens to be the one that you follow. But you don’t need to know which one that is until the storyline begins to reveal itself.’ So, it’s more about a bunch of three friends, and a family preparing for a marriage, and much less about the stars, the lead characters.”\u003c/p>\n\u003cp>He went on to reflect, “But part of that is because—although Michael and I did perform Romeo, Mercutio and Benvolio in our day, all the leading male roles—we also spent a lot of time as townspeople. We know the stars can’t do it unless the community around them responds in the right way. We wanted to really respect the work of the \u003cem>corps de ballet \u003c/em>dancers and for them to end up being as important a character as the leads were. Perhaps that’s why you saw what you described as something that could have happened to any of them: it’s just a tragic sequence of events that led to it being this particular tragedy on this particular day.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=0&v=EHPT8IglL0s\u003c/p>\n\u003cp>Teenage passions and swordfights to the death aren’t the only things to look forward to at the San Francisco Dance Film Festival. In 10 years, the festival has seen an explosion in submissions, across an abundance of dance forms. This year 120+ entries from 25 countries offer a wide-ranging exploration of why people dance. And they celebrate the kinds of superheroes who don’t need stuntmen to pull off extraordinary feats of artistry and daredevilry on screen.\u003c/p>\n\u003cp>https://vimeo.com/369463318\u003c/p>\n\u003cp>That would include the Memphis jookers in \u003cem>Lil’ Buck: Real Swan\u003c/em>, a documentary that traces the journey of Charles “Lil’ Buck” Riley from the streets of Memphis to ballet studios and international concert stages, and then back to Memphis to inspire the next generation of jookers.\u003c/p>\n\u003cfigure id=\"attachment_13869099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1920x1165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ekaterina Kondaurova and Lil’ Buck. Photo: Dan Krauss. Image courtesy of Versatile Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Lil’ Buck’s fleet-footed \u003ca href=\"https://www.youtube.com/watch?v=C9jghLeYufQ\" target=\"_blank\" rel=\"noopener\">collaborations\u003c/a> with cellist Yo-Yo Ma feel as serendipitous as the extravaganza that united French choreographer Maurice Béjart with the music of Queen and Mozart, and the designs of Gianni Versace. Though Béjart was moved to create his ballet by the deaths from AIDS of his lover and muse Jorge Donn, and Freddie Mercury, the work itself is more joyous than mournful. The making of the ballet in 1997 is recounted in the new documentary \u003cem>Queen + Béjart: Ballet For Life\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=0aXEsYAjYWE\u003c/p>\n\u003cp>Scottish Ballet is a smallish company with an outsize digital footprint and an appetite for trying new things. This year, Jessica Wright and Morgann Runacre-Temple envisioned a fine dining experience gone hilariously wrong in \u003cem>Tremble\u003c/em>. And for a piece called \u003cem>Frontiers\u003c/em>, San Francisco Ballet’s Myles Thatcher flew in to engineer an assortment of intimate grapplings by pairs of dancers of mixed- and same-sex, in the shelter of Glasgow’s colossal concrete underpasses.\u003c/p>\n\u003cfigure id=\"attachment_13869110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg\" alt=\"\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1200x1021.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo for English National Ballet / Akram Khan’s Giselle. Photo: Jason Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Akram Khan’s\u003c/em> \u003cem>Giselle \u003c/em>is an austere and gripping reimagining of the classic 19th century ballet about class betrayal—this version set in a community of garment factory workers. The Kathak-trained contemporary choreographer has given the classically trained dancers of English National Ballet a hypnotic movement idiom, and the brigade of undead women in Act II are every bit as eerie as in the traditional rendering.\u003c/p>\n\u003cfigure id=\"attachment_13869108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869108\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valtteri Raekallio in Fram. Choreography and direction: Thomas Freundlich and Valtteri Raekallio. Photo: Thomas Freundlich\u003c/figcaption>\u003c/figure>\n\u003cp>Because easy things are rarely worth doing, dancers traveled literally to opposite ends of the earth to make \u003cem>Dancing on Icebergs\u003c/em>, by New Zealand’s Corey Baker, and \u003cem>Fram\u003c/em>, by Finland’s Thomas Freundlich and Valtteri Raekallio.\u003c/p>\n\u003cp>(In full disclosure, sticking closer to home is a pair of films from KQED’s Webby Award-winning series \u003cem>\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">If Cities Could Dance\u003c/a>, \u003c/em>in which local dance crews Turf Feinz thread their way through the streets of Oakland, and R.O.O.T.S. The Movement imprint Richmond locales with their distinctive high-octane movement style.)\u003c/p>\n\u003cp>It wouldn’t be San Francisco without an ultra-high tech angle. Two years ago, the festival started screening \u003ca href=\"https://www.kqed.org/arts/13811546/is-virtual-reality-the-future-of-dance\" target=\"_blank\" rel=\"noopener\">virtual reality (VR) dance films\u003c/a>. Today, festival executive director Judy Flannery notes that VR is “still outside the reach of a ‘regular filmmaker’ both in terms of costs and truly understanding how best to utilize the unique advantages the technology can bring to a dance film.” But from the handful of recent submissions, she notes that “what was purely experimental two years ago is now more thoughtful and deliberate.”\u003c/p>\n\u003cp>https://vimeo.com/289988509\u003c/p>\n\u003cp>So, for the first time, the festival has commissioned a VR dance film, pairing a research engineer with a choreographer to produce the work in a tight timeframe. Jodi Lomask and Bhautik Joshi’s \u003cem>Into the Neural Forest\u003c/em> was inspired by actual brain imagery, and whisks viewers into a model of the brain, populated by dancers who behave like neurons.\u003c/p>\n\u003cp>It’s a brave new world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The San Francisco Dance Film Festival runs from Nov. 2–10 at various venues around the city. \u003ca href=\"https://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "BalletBoyz' adaptation of the Shakespeare classic is just one of many offerings at the festival.",
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"title": "Stunning New 'Romeo & Juliet' to Open at the San Francisco Dance Film Festival | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when societies are increasingly fractured along tribal lines, there may be no more potent a reflection of the personal costs of these conflicts than Shakespeare’s \u003cstrong>\u003cem>Romeo & Juliet\u003c/em>\u003c/strong>. Though the tale has been reinvented in countless ways, prepare to be torn to shreds by a new film version from Britain’s \u003ca href=\"https://www.balletboyz.com\" target=\"_blank\" rel=\"noopener\">BalletBoyz\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/7XjMg1iPaZQ'\n title='//www.youtube.com/embed/7XjMg1iPaZQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Directors Michael Nunn and William Trevitt have swept Kenneth MacMillan’s dramatic ballet onto the streets of Budapest, and drafted a captivating cast from a young generation of stars at the Royal Ballet. Their staging injects new realism and intimacy into the classic work without sacrificing the grandeur and drama. They’ve driven the action along at a furious pace, trimming the darkly glorious Prokofiev score to a lean, mean, fighting 90 minutes, and unleashed the heavens on a pivotal fight scene—it’s sensual, adrenaline-pumping stuff.\u003c/p>\n\u003cfigure id=\"attachment_13869100\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869100\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-14-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>American audiences will get their first view of this \u003cstrong>\u003cem>\u003ca href=\"https://www.sfdancefilmfest.org/festival-films/2019-program/romeo-juliet/\" target=\"_blank\" rel=\"noopener\">Romeo & Juliet\u003c/a> \u003c/em>\u003c/strong>when it opens on Wednesday, Nov. 6, at the San Francisco Dance Film Festival, close to the time of the U.K. premiere. I caught up with Trevitt over the phone as he and Nunn prepared to fly to San Francisco for the opening. Both men danced for many years with the Royal before helming their own gutsy all-male contemporary troupe, and have earned accolades for their innovative \u003ca href=\"https://www.balletboyz.com/stage\" target=\"_blank\" rel=\"noopener\">stage\u003c/a> and \u003ca href=\"https://www.balletboyz.com/film\" target=\"_blank\" rel=\"noopener\">film\u003c/a> projects.\u003c/p>\n\u003cp>Of ballet on the big screen, Trevitt said, “Film opens up so much potential in an art form that can seem slightly frozen in time.” Restless cameras weave in and out of market square and ballroom crowds, pry into Juliet’s balcony and bedroom, and penetrate the gloom of the Capulet clan’s underground crypt. The dancers’ taut physiques may be sheathed in tights and pointe shoes, but their barely made-up faces register deep, often conflicting emotions with a refreshing naturalness.\u003c/p>\n\u003cfigure id=\"attachment_13869101\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869101\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-6-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Francesca Hayward as Juliet in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>The cast reflects the \u003ca href=\"https://www.pointemagazine.com/new-promotions-royal-ballet-2412894276.html\" target=\"_blank\" rel=\"noopener\">increasing diversity\u003c/a> of the Royal Ballet’s ranks—Francesca Hayward as Juliet, in particular, has made waves as \u003ca href=\"https://www.essence.com/articles/francesca-hayward-black-female-lead-cats/\" target=\"_blank\" rel=\"noopener\">one of the few black ballerinas\u003c/a> to be named a Principal dancer in a major classical ballet company. Her chemistry with William Bracewell’s boyish, impetuous Romeo is undeniable—yet at their first encounter, when he and his pals gatecrash the Capulets’ ball, the overwhelming sense from the camerawork is one of claustrophobia, as society closes in on the pair.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even as individual characters are finely etched, the framing of the action throughout the film reinforces the idea of the powerlessness of the individual in a monstrous feudal system. Juliet is just an impressionable teenager, and Romeo no more of a hero than his cocky pals (the exuberant Marcelino Sambé and James Hay), and they don’t fully comprehend the game in which they are pawns. The whirlwind infatuation and its deadly consequences could have been the fate of any of their peers: it’s presented as a tragedy of society more than the tragic love story of these two young people with horrible parents. That the grownups themselves feel trapped is evident in searing portrayals of the grief-stricken Lady Capulet by Kristen McNally, the chilling Lord Capulet by Christopher Saunders, the fiery Tybalt by Matthew Ball, and the conflicted Friar Laurence by Bennet Gartside.\u003c/p>\n\u003cfigure id=\"attachment_13869102\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869102\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Romeo-and-Juliet-5-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Bracewell and Francesca Hayward in Romeo & Juliet. Choreography: Kenneth MacMillan. Direction: Michael Nunn and William Trevitt. Copyright Footwork Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Trevitt said, “We had some pushback from people early on saying, ‘You need to tell me which one is Romeo from the beginning, you need to show me a headshot so I can identify him.’ We said, ‘We don’t want to do it like that, we want to have this community where gradually one of the people is revealed because their storyline happens to be the one that you follow. But you don’t need to know which one that is until the storyline begins to reveal itself.’ So, it’s more about a bunch of three friends, and a family preparing for a marriage, and much less about the stars, the lead characters.”\u003c/p>\n\u003cp>He went on to reflect, “But part of that is because—although Michael and I did perform Romeo, Mercutio and Benvolio in our day, all the leading male roles—we also spent a lot of time as townspeople. We know the stars can’t do it unless the community around them responds in the right way. We wanted to really respect the work of the \u003cem>corps de ballet \u003c/em>dancers and for them to end up being as important a character as the leads were. Perhaps that’s why you saw what you described as something that could have happened to any of them: it’s just a tragic sequence of events that led to it being this particular tragedy on this particular 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/EHPT8IglL0s'\n title='//www.youtube.com/embed/EHPT8IglL0s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Teenage passions and swordfights to the death aren’t the only things to look forward to at the San Francisco Dance Film Festival. In 10 years, the festival has seen an explosion in submissions, across an abundance of dance forms. This year 120+ entries from 25 countries offer a wide-ranging exploration of why people dance. And they celebrate the kinds of superheroes who don’t need stuntmen to pull off extraordinary feats of artistry and daredevilry on screen.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>That would include the Memphis jookers in \u003cem>Lil’ Buck: Real Swan\u003c/em>, a documentary that traces the journey of Charles “Lil’ Buck” Riley from the streets of Memphis to ballet studios and international concert stages, and then back to Memphis to inspire the next generation of jookers.\u003c/p>\n\u003cfigure id=\"attachment_13869099\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869099\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg\" alt=\"\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Kondaurova-and-Lil-Buck-1920x1165.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ekaterina Kondaurova and Lil’ Buck. Photo: Dan Krauss. Image courtesy of Versatile Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Lil’ Buck’s fleet-footed \u003ca href=\"https://www.youtube.com/watch?v=C9jghLeYufQ\" target=\"_blank\" rel=\"noopener\">collaborations\u003c/a> with cellist Yo-Yo Ma feel as serendipitous as the extravaganza that united French choreographer Maurice Béjart with the music of Queen and Mozart, and the designs of Gianni Versace. Though Béjart was moved to create his ballet by the deaths from AIDS of his lover and muse Jorge Donn, and Freddie Mercury, the work itself is more joyous than mournful. The making of the ballet in 1997 is recounted in the new documentary \u003cem>Queen + Béjart: Ballet For Life\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0aXEsYAjYWE'\n title='//www.youtube.com/embed/0aXEsYAjYWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Scottish Ballet is a smallish company with an outsize digital footprint and an appetite for trying new things. This year, Jessica Wright and Morgann Runacre-Temple envisioned a fine dining experience gone hilariously wrong in \u003cem>Tremble\u003c/em>. And for a piece called \u003cem>Frontiers\u003c/em>, San Francisco Ballet’s Myles Thatcher flew in to engineer an assortment of intimate grapplings by pairs of dancers of mixed- and same-sex, in the shelter of Glasgow’s colossal concrete underpasses.\u003c/p>\n\u003cfigure id=\"attachment_13869110\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869110\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg\" alt=\"\" width=\"800\" height=\"681\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-800x681.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-768x653.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1020x868.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000-1200x1021.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/jb-giselle-tamara-rojo-stylised-publicity-image_1000.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tamara Rojo for English National Ballet / Akram Khan’s Giselle. Photo: Jason Bell.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Akram Khan’s\u003c/em> \u003cem>Giselle \u003c/em>is an austere and gripping reimagining of the classic 19th century ballet about class betrayal—this version set in a community of garment factory workers. The Kathak-trained contemporary choreographer has given the classically trained dancers of English National Ballet a hypnotic movement idiom, and the brigade of undead women in Act II are every bit as eerie as in the traditional rendering.\u003c/p>\n\u003cfigure id=\"attachment_13869108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869108\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/fram_valtteri_on_shore_photo_by_t_freundlich-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Valtteri Raekallio in Fram. Choreography and direction: Thomas Freundlich and Valtteri Raekallio. Photo: Thomas Freundlich\u003c/figcaption>\u003c/figure>\n\u003cp>Because easy things are rarely worth doing, dancers traveled literally to opposite ends of the earth to make \u003cem>Dancing on Icebergs\u003c/em>, by New Zealand’s Corey Baker, and \u003cem>Fram\u003c/em>, by Finland’s Thomas Freundlich and Valtteri Raekallio.\u003c/p>\n\u003cp>(In full disclosure, sticking closer to home is a pair of films from KQED’s Webby Award-winning series \u003cem>\u003ca href=\"https://www.kqed.org/arts/series/ifcitiescoulddance\" target=\"_blank\" rel=\"noopener\">If Cities Could Dance\u003c/a>, \u003c/em>in which local dance crews Turf Feinz thread their way through the streets of Oakland, and R.O.O.T.S. The Movement imprint Richmond locales with their distinctive high-octane movement style.)\u003c/p>\n\u003cp>It wouldn’t be San Francisco without an ultra-high tech angle. Two years ago, the festival started screening \u003ca href=\"https://www.kqed.org/arts/13811546/is-virtual-reality-the-future-of-dance\" target=\"_blank\" rel=\"noopener\">virtual reality (VR) dance films\u003c/a>. Today, festival executive director Judy Flannery notes that VR is “still outside the reach of a ‘regular filmmaker’ both in terms of costs and truly understanding how best to utilize the unique advantages the technology can bring to a dance film.” But from the handful of recent submissions, she notes that “what was purely experimental two years ago is now more thoughtful and deliberate.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So, for the first time, the festival has commissioned a VR dance film, pairing a research engineer with a choreographer to produce the work in a tight timeframe. Jodi Lomask and Bhautik Joshi’s \u003cem>Into the Neural Forest\u003c/em> was inspired by actual brain imagery, and whisks viewers into a model of the brain, populated by dancers who behave like neurons.\u003c/p>\n\u003cp>It’s a brave new world.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>The San Francisco Dance Film Festival runs from Nov. 2–10 at various venues around the city. \u003ca href=\"https://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "De Niro, Pesci and Pacino are at the Top of Their Game in 'The Irishman'",
"headTitle": "De Niro, Pesci and Pacino are at the Top of Their Game in ‘The Irishman’ | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=937067\">Martin Scorsese\u003c/a> has made so many terrific crime pictures that you would be forgiven for doubting whether he had another one in him. The great surprise of his haunting and elegiac new movie, \u003cem>The Irishman, \u003c/em>is that it doesn’t play like a retread so much as a reckoning.\u003c/p>\n\u003cp>It reunites Scorsese with \u003cem>Goodfellas \u003c/em>actors Robert De Niro and Joe Pesci, but while his earlier mob classic had an exhilarating energy, \u003cem>The Irishman\u003c/em> is suffused with loss. It feels older, wiser and infinitely sadder. There are still wisecracks and double-crosses and whackings aplenty, but there’s no kicky thrill to the violence this time—just a harsh aftertaste of emptiness and futility.\u003c/p>\n\u003cp>Since the movie spans several decades and runs 3 1/2 hours, that’s admittedly a lot of futility. But \u003cem>The Irishman \u003c/em>is a richly involving experience. Its measured pace is entirely gripping, and its gorgeous images are well worth seeing in a theater if you live near one of the few venues where it’s playing (before it hits Netflix on Nov. 27). On a big screen, you might notice some of the minor imperfections of the “digital de-aging” technology that Scorsese uses to make the actors look younger in different time frames, but you stop noticing them after a few moments as the illusion takes hold.\u003c/p>\n\u003cp>De Niro stars as Frank Sheeran, the Irishman of the title, and the movie is essentially his account of his life and crimes. Shortly before his death from cancer in 2003, Sheeran claimed that he had killed Teamsters boss Jimmy Hoffa, who had gone mysteriously missing in 1975. One of his former attorneys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3804209\">Charles Brandt\u003c/a>, reported that claim in his biography of Sheeran, \u003cem>I Heard You Paint Houses\u003c/em>, which serves as the foundation for Steven Zaillian’s screenplay.\u003c/p>\n\u003cp>But Sheeran, narrating his story from a retirement home at the age of 82, has a lot to tell us before he gets to that point. He takes us back to the 1940s, when he was a Pennsylvania truck driver who managed to ingratiate himself with local mafioso Russell Bufalino, wonderfully played by Pesci in a long-overdue return to the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sheeran becomes Bufalino’s most reliable hit man: Desensitized to violence by his World War II military service, he kills efficiently and doesn’t ask too many questions. He’s so good at his job that Bufalino soon introduces him over the phone to Hoffa, played by Al Pacino.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WHXxVmeGQUc\u003c/p>\n\u003cp>Before long, Sheeran is handling Hoffa’s dirty work as well, and in their bond, we see the insidious ties between unionized labor and organized crime. \u003cem>The Irishman\u003c/em> compresses a lot of tumultuous history: There are reenactments of famous mob killings, drive-by references to events such as the \u003ca href=\"https://www.npr.org/2011/04/17/135444482/50-years-later-learning-from-the-bay-of-pigs\">Bay of Pigs invasion\u003c/a>, and even a brief nod to the conspiracy theory that the mob ordered the \u003ca href=\"https://www.npr.org/series/243938281/the-jfk-assassination-50-years-later\">assassination of President John F. Kennedy\u003c/a>.\u003c/p>\n\u003cp>But for all the movie’s historical sweep and its colorful supporting turns by actors like \u003ca href=\"https://www.npr.org/2016/03/30/472385235/ray-romano-gets-deep-dark-and-angsty-for-martin-scorsese-s-vinyl\">Ray Romano\u003c/a>, \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\">Bobby Cannavale\u003c/a> and \u003ca href=\"https://www.npr.org/2015/12/05/458573116/moment-of-truth-in-youth-hits-home-for-actor-harvey-keitel\">Harvey Keitel\u003c/a>, it’s the three central personalities that make the movie so engrossing. Scorsese is fascinated by the codes of loyalty that bind Sheeran, Bufalino and Hoffa—and also by the petty rivalries and power struggles that threaten to destroy them.\u003c/p>\n\u003cp>De Niro, Pesci and Pacino are at the top of their game, in part because they aren’t simply rehashing the iconic gangster types they’ve played before. Pesci makes Bufalino quiet and calculating—the complete opposite of the short-fused goodfella character that won him an Oscar.\u003c/p>\n\u003cp>Pacino gets to go big and boisterous without tilting into bombast. He pours enormous affection into the role of Hoffa, a man of simple pleasures—he loves ice cream more than anything—and old-school habits, as we see when he unleashes hell on someone who shows up late to a meeting.\u003c/p>\n\u003cp>As for De Niro, he gives a quietly chilling and finally wrenching performance as a man who dutifully aligns himself with evil. The last third of \u003cem>The Irishman \u003c/em>slows to a riveting crawl as it reconstructs what may or may not have happened in Hoffa’s final hours. Scorsese draws out the tension to an unbearable degree; he wants us to feel in our bones the horror and gravity of what it means to take someone else’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I haven’t yet mentioned Sheeran’s wives and children, which is fitting, since he mostly treats them as afterthoughts. Scorsese doesn’t make the same mistake. Sheeran’s daughter Peggy, played at different ages by Lucy Gallina and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=105174915\">Anna Paquin\u003c/a>, becomes the movie’s moral center. Peggy doesn’t say much, but her silence cuts right through all the movie’s male bluster. With every withering stare, she offers a brutal judgment of her father and the ghastly, corrupt world to which he belongs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+Niro%2C+Pesci+And+Pacino+Are+At+The+Top+Of+Their+Game+In+%27The+Irishman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=937067\">Martin Scorsese\u003c/a> has made so many terrific crime pictures that you would be forgiven for doubting whether he had another one in him. The great surprise of his haunting and elegiac new movie, \u003cem>The Irishman, \u003c/em>is that it doesn’t play like a retread so much as a reckoning.\u003c/p>\n\u003cp>It reunites Scorsese with \u003cem>Goodfellas \u003c/em>actors Robert De Niro and Joe Pesci, but while his earlier mob classic had an exhilarating energy, \u003cem>The Irishman\u003c/em> is suffused with loss. It feels older, wiser and infinitely sadder. There are still wisecracks and double-crosses and whackings aplenty, but there’s no kicky thrill to the violence this time—just a harsh aftertaste of emptiness and futility.\u003c/p>\n\u003cp>Since the movie spans several decades and runs 3 1/2 hours, that’s admittedly a lot of futility. But \u003cem>The Irishman \u003c/em>is a richly involving experience. Its measured pace is entirely gripping, and its gorgeous images are well worth seeing in a theater if you live near one of the few venues where it’s playing (before it hits Netflix on Nov. 27). On a big screen, you might notice some of the minor imperfections of the “digital de-aging” technology that Scorsese uses to make the actors look younger in different time frames, but you stop noticing them after a few moments as the illusion takes hold.\u003c/p>\n\u003cp>De Niro stars as Frank Sheeran, the Irishman of the title, and the movie is essentially his account of his life and crimes. Shortly before his death from cancer in 2003, Sheeran claimed that he had killed Teamsters boss Jimmy Hoffa, who had gone mysteriously missing in 1975. One of his former attorneys, \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=3804209\">Charles Brandt\u003c/a>, reported that claim in his biography of Sheeran, \u003cem>I Heard You Paint Houses\u003c/em>, which serves as the foundation for Steven Zaillian’s screenplay.\u003c/p>\n\u003cp>But Sheeran, narrating his story from a retirement home at the age of 82, has a lot to tell us before he gets to that point. He takes us back to the 1940s, when he was a Pennsylvania truck driver who managed to ingratiate himself with local mafioso Russell Bufalino, wonderfully played by Pesci in a long-overdue return to the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sheeran becomes Bufalino’s most reliable hit man: Desensitized to violence by his World War II military service, he kills efficiently and doesn’t ask too many questions. He’s so good at his job that Bufalino soon introduces him over the phone to Hoffa, played by Al Pacino.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WHXxVmeGQUc'\n title='//www.youtube.com/embed/WHXxVmeGQUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, Sheeran is handling Hoffa’s dirty work as well, and in their bond, we see the insidious ties between unionized labor and organized crime. \u003cem>The Irishman\u003c/em> compresses a lot of tumultuous history: There are reenactments of famous mob killings, drive-by references to events such as the \u003ca href=\"https://www.npr.org/2011/04/17/135444482/50-years-later-learning-from-the-bay-of-pigs\">Bay of Pigs invasion\u003c/a>, and even a brief nod to the conspiracy theory that the mob ordered the \u003ca href=\"https://www.npr.org/series/243938281/the-jfk-assassination-50-years-later\">assassination of President John F. Kennedy\u003c/a>.\u003c/p>\n\u003cp>But for all the movie’s historical sweep and its colorful supporting turns by actors like \u003ca href=\"https://www.npr.org/2016/03/30/472385235/ray-romano-gets-deep-dark-and-angsty-for-martin-scorsese-s-vinyl\">Ray Romano\u003c/a>, \u003ca href=\"https://www.npr.org/2013/01/09/167470435/bobby-cannavale-at-home-on-broadway\">Bobby Cannavale\u003c/a> and \u003ca href=\"https://www.npr.org/2015/12/05/458573116/moment-of-truth-in-youth-hits-home-for-actor-harvey-keitel\">Harvey Keitel\u003c/a>, it’s the three central personalities that make the movie so engrossing. Scorsese is fascinated by the codes of loyalty that bind Sheeran, Bufalino and Hoffa—and also by the petty rivalries and power struggles that threaten to destroy them.\u003c/p>\n\u003cp>De Niro, Pesci and Pacino are at the top of their game, in part because they aren’t simply rehashing the iconic gangster types they’ve played before. Pesci makes Bufalino quiet and calculating—the complete opposite of the short-fused goodfella character that won him an Oscar.\u003c/p>\n\u003cp>Pacino gets to go big and boisterous without tilting into bombast. He pours enormous affection into the role of Hoffa, a man of simple pleasures—he loves ice cream more than anything—and old-school habits, as we see when he unleashes hell on someone who shows up late to a meeting.\u003c/p>\n\u003cp>As for De Niro, he gives a quietly chilling and finally wrenching performance as a man who dutifully aligns himself with evil. The last third of \u003cem>The Irishman \u003c/em>slows to a riveting crawl as it reconstructs what may or may not have happened in Hoffa’s final hours. Scorsese draws out the tension to an unbearable degree; he wants us to feel in our bones the horror and gravity of what it means to take someone else’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I haven’t yet mentioned Sheeran’s wives and children, which is fitting, since he mostly treats them as afterthoughts. Scorsese doesn’t make the same mistake. Sheeran’s daughter Peggy, played at different ages by Lucy Gallina and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=105174915\">Anna Paquin\u003c/a>, becomes the movie’s moral center. Peggy doesn’t say much, but her silence cuts right through all the movie’s male bluster. With every withering stare, she offers a brutal judgment of her father and the ghastly, corrupt world to which he belongs.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+Niro%2C+Pesci+And+Pacino+Are+At+The+Top+Of+Their+Game+In+%27The+Irishman%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor and comedian \u003ca href=\"https://www.imdb.com/name/nm0936762/?ref_=ttfc_fc_cl_t9\">John Witherspoon\u003c/a>, whose first roles were on 1970s TV shows such as \u003cem>Barnaby Jones\u003c/em> and \u003cem>The Richard Pryor Show\u003c/em> but who was best known for his role as the crotchety dad in the \u003cem>Friday\u003c/em> films, has died at 77.\u003c/p>\n\u003cp>https://twitter.com/John_POPS_Spoon/status/1189409257671680000\u003c/p>\n\u003cp>Witherspoon’s family confirmed his death in Los Angeles on Wednesday.\u003c/p>\n\u003cp>“It is with deepest sorrow that we can confirm our beloved husband and father, John Witherspoon, one of the hardest working men in show business, died today at his home in Sherman Oaks at the age of 77,” the family said in a \u003ca href=\"https://deadline.com/2019/10/john-witherspoon-dead-obituary-comedian-friday-star-77-1202772258/\">statement\u003c/a>.\u003c/p>\n\u003cp>Witherspoon, who was born John Weatherspoon in Detroit in 1942, started his career as a stand-up comic and continued to play clubs throughout his life. In 1979, he got his first television role, on \u003cem>Barnaby Jones\u003c/em>, playing a counselor at a camp for drug-addicted children alongside a young Sean Penn in Penn’s first credited role.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/TedOnTV/status/921484263438118913\u003c/p>\n\u003cp>Later, Witherspoon appeared in \u003cem>Good Times, What’s Happening!!\u003c/em> and \u003cem>The Incredible Hulk\u003c/em>, among others. He became a regular on \u003cem>The Richard Pryor Show. \u003c/em>Years later, he had recurring roles in \u003cem>The Wayans Bros.\u003c/em> and \u003cem>The Tracy Morgan Show.\u003c/em>\u003c/p>\n\u003cp>He voiced Robert “Granddad” Freeman in the animated sitcom \u003cem>The Boondocks, \u003c/em>which wrapped in 2014. However, in May, Witherspoon \u003ca href=\"https://www.complex.com/pop-culture/2019/06/boondocks-reportedly-returning-for-season-5-says-john-witherspoon\">said the show and his character were set for a revival.\u003c/a>\u003c/p>\n\u003cp>His feature films included \u003cem>Hollywood Shuffle, Boomerang, Vampire in Brooklyn, I’m Gonna Git You Sucka, Bird, The Meteor Man\u003c/em> and all three of the \u003cem>Friday\u003c/em> comedies starring Ice Cube and Chris Tucker — \u003cem>Friday\u003c/em> (1995), \u003cem>Next Friday\u003c/em> (2000) and \u003cem>Friday After Next\u003c/em> (2002).\u003c/p>\n\u003cp>Ice Cube tweeted that “Life won’t be as funny without him.”\u003c/p>\n\u003cp>https://twitter.com/icecube/status/1189427587455406081\u003c/p>\n\u003cp>Witherspoon is survived by his wife, Angela, and two sons, JD and Alexander. The family was “in shock” over his death and asked for privacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“John used to say ‘I’m no big deal,’ but he was huge deal to us,” the family said in a statement. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Film+And+Television+Comic+John+Witherspoon+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Witherspoon’s family confirmed his death in Los Angeles on Wednesday.\u003c/p>\n\u003cp>“It is with deepest sorrow that we can confirm our beloved husband and father, John Witherspoon, one of the hardest working men in show business, died today at his home in Sherman Oaks at the age of 77,” the family said in a \u003ca href=\"https://deadline.com/2019/10/john-witherspoon-dead-obituary-comedian-friday-star-77-1202772258/\">statement\u003c/a>.\u003c/p>\n\u003cp>Witherspoon, who was born John Weatherspoon in Detroit in 1942, started his career as a stand-up comic and continued to play clubs throughout his life. In 1979, he got his first television role, on \u003cem>Barnaby Jones\u003c/em>, playing a counselor at a camp for drug-addicted children alongside a young Sean Penn in Penn’s first credited role.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Later, Witherspoon appeared in \u003cem>Good Times, What’s Happening!!\u003c/em> and \u003cem>The Incredible Hulk\u003c/em>, among others. He became a regular on \u003cem>The Richard Pryor Show. \u003c/em>Years later, he had recurring roles in \u003cem>The Wayans Bros.\u003c/em> and \u003cem>The Tracy Morgan Show.\u003c/em>\u003c/p>\n\u003cp>He voiced Robert “Granddad” Freeman in the animated sitcom \u003cem>The Boondocks, \u003c/em>which wrapped in 2014. However, in May, Witherspoon \u003ca href=\"https://www.complex.com/pop-culture/2019/06/boondocks-reportedly-returning-for-season-5-says-john-witherspoon\">said the show and his character were set for a revival.\u003c/a>\u003c/p>\n\u003cp>His feature films included \u003cem>Hollywood Shuffle, Boomerang, Vampire in Brooklyn, I’m Gonna Git You Sucka, Bird, The Meteor Man\u003c/em> and all three of the \u003cem>Friday\u003c/em> comedies starring Ice Cube and Chris Tucker — \u003cem>Friday\u003c/em> (1995), \u003cem>Next Friday\u003c/em> (2000) and \u003cem>Friday After Next\u003c/em> (2002).\u003c/p>\n\u003cp>Ice Cube tweeted that “Life won’t be as funny without him.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Witherspoon is survived by his wife, Angela, and two sons, JD and Alexander. The family was “in shock” over his death and asked for privacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“John used to say ‘I’m no big deal,’ but he was huge deal to us,” the family said in a statement. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Film+And+Television+Comic+John+Witherspoon+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How mainstream is horror today? Frighteningly mainstream. Let’s just look at some of the biggest smash hits recently on television and streaming video: Shows like \u003cem>Stranger Things\u003c/em>, \u003cem>American Horror Story\u003c/em> and \u003cem>The Walking Dead\u003c/em> all fit into to this once-maligned genre.\u003c/p>\n\u003cp>To feed this hunger for horror, AMC—the channel behind \u003cem>The Walking Dead\u003c/em>—decided to create a dedicated streaming service called Shudder, featuring horror movies, shows, even documentaries. Craig Engler is the general manager for Shudder, and he says the service is taking off because horror has lots of fans, it’s a bargain to make, and more people like it than they realize. “People think horror is just the \u003cem>Halloween\u003c/em> movies, or \u003cem>Friday the 13th\u003c/em>,” he says. And you will find those classics on Shudder—but also original programming like the wildly successful series C\u003cem>reepshow\u003c/em>, inspired by the stories of Stephen King.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inzsKlVR_N8\u003c/p>\n\u003cp>Had AMC put \u003cem>Creepshow\u003c/em> on cable, it would’ve doubtless attracted thousands, if not millions, more eyeballs, but the idea was to lure viewers into the next evolution of media. Audiences are gravitating away from old-fashioned cable channels and towards streaming video—that’s why Disney, HBO, Apple and every other massive media company on the planet is adding or expanding streaming services right now. Over the past few years, AMC has launched several streaming services—including Shudder.\u003c/p>\n\u003cp>“One of the intentions with \u003cem>Creepshow\u003c/em> was to draw people to Shudder,” says Greg Nicotero, the executive producer of both \u003cem>Creepshow\u003c/em> and \u003cem>The Walking Dead\u003c/em>. Luring horror fans with a familiar and beloved Stephen King property was the first step, he says, towards convincing them to stick around for thousands of hours of smart, interestingly curated horror, ranging from an Indonesian box office hit called \u003cem>Satan’s Slaves\u003c/em> (“It was so crazy good, and I loved it so much!” he says) to a feminist rape-revenge movie by French filmmaker Coralie Fargeat called, well, \u003cem>Revenge\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KyoE0mSJXO8\u003c/p>\n\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Revenge\u003c/em> is Fargeat’s first feature film. And even though Shudder’s a relatively small streaming service, she says it was in some ways a better place for her movie than Netflix. “You have so many movies and so many algorithms that make you appear or disappear,” she observes about Netflix—but Shudder’s movies appear in front of audiences invested in seeing them.\u003c/p>\n\u003cp>Shudder was founded in 2015. Four years later, the service has the top three best reviewed horror movies of the year so far, \u003ca href=\"https://editorial.rottentomatoes.com/guide/best-horror-movies-of-2019/\">according to Rotten Tomatoes\u003c/a>, and you can only watch them on Shudder. (One of them, \u003cem>Tigers Are Not Afraid\u003c/em>, was made by Issa López, another female director. Based in Mexico City, \u003ca href=\"https://www.npr.org/2019/08/25/753877130/in-tigers-are-not-afraid-a-dark-fantasy-amid-mexico-s-drug-war\">she spoke to NPR this summer\u003c/a> about her darkly thoughtful fairy tale of children orphaned—and literally haunted—by Mexican drug cartels.)\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/KyoE0mSJXO8'\n title='//www.youtube.com/embed/KyoE0mSJXO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Horror travels super well,” says Shudder general manager Craig Engler. “The things we’re afraid of are universal.” Exactly how universal would be more clear if Shudder released its subscription information—but those numbers remain shrouded in mystery, per company policy. “Which is a shame,” Engler says, “because the metrics are awesome. We are growing by leaps and bounds. Almost every month, we set new records in terms of viewership, in terms of subscriber acquisition.”\u003c/p>\n\u003cp>That doesn’t surprise Laura Martin, a media analyst for Needham, “because,” she says, “the fans are so rabid.” Forget competing with giant services like Netflix, Martin says. It’s smarter to focus on enthusiastic fan bases that love relatively cheap content—and promoting it to each other. Martin points to another streaming service owned by AMC, \u003ca href=\"https://acorn.tv/\">Acorn TV\u003c/a>, which enjoys a similarly passionate group of fans. They’re always starving for their preferred content, and essentially advertise it via word of mouth. The difference? Acorn fans are into high-end British television, especially mysteries. “So I actually think this is sort of an inspired choice that AMC is pursuing here,” she says.\u003c/p>\n\u003cp>In the Venn diagram of British mystery-lovers and fans of horror movies there’s another surprising commonality, says Engler: “There’s a huge overlap between Shudder members and people who read books.” It’s a rare demographic admission that gives horror fans an eerily shared interest not only with British TV fans—but also NPR listeners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Nina Gregory and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.\u003c/a>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shudder+Puts+The+Screaming+In+Streaming+Video&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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