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"content": "\u003cp>Gaza, Irish doc filmmaker Garry Keane and photojournalist Andrew McConnell remind us at the beginning of their immersive, textured \u003cem>Gaza\u003c/em>, is only 25 miles long and seven miles wide. Its borders with Egypt and Israel are closed, while the expansive Mediterranean merely offers the illusions of escape and freedom. For the last decade-plus, Gaza’s two million inhabitants have been ruled by Hamas, so women steadily have less latitude and liberty.\u003c/p>\n\u003cp>\u003cem>Gaza\u003c/em>, which is Ireland’s official submission for the Academy Award for International Feature Film (formerly known as Foreign Language Film), screens Oct. 16 and 19 in the \u003ca href=\"https://aff2019.eventive.org/welcome\" rel=\"noopener\" target=\"_blank\">Arab Film Festival\u003c/a> (Oct. 11–20 at the Castro and Roxie in San Francisco and the New Parkway in Oakland). The filmmakers dispense with a narrator so as to amplify the voices of a range of everyday people—a cab driver, a cello-studying teenager, a child fisherman, a woman who produced the first fashion show in Gaza. The documentary teems with activity, yet the overwhelming vibe is inertia and frustration. “There is a barrier that stands between the people of Gaza and life itself,” declares a theater director with six college-educated children, none of whom found jobs after graduation.\u003c/p>\n\u003cfigure id=\"attachment_13867791\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg\" alt=\"Still from 'It Must Be Heaven.'\" width=\"1200\" height=\"462\" class=\"size-full wp-image-13867791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-160x62.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-800x308.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-768x296.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/ItMustBeHeaven_3_1200-1020x393.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘It Must Be Heaven.’ \u003ccite>(Courtesy of Arab Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The dryly comic cinema laureate of Palestinian malaise, Elia Suleiman, has built a reasonably successful, undeniably bittersweet career since 1996’s \u003cem>Chronicle of a Disappearance\u003c/em> satirizing and lamenting (in equal measure) the painful quality of life under Israeli occupation. \u003cem>It Must Be Heaven\u003c/em>, his first feature since \u003cem>The Time That Remains\u003c/em> one long decade ago, opens the Arab Film Festival with a poignant whiff of dislocation, alienation and resignation.\u003c/p>\n\u003cp>Suleiman’s films aren’t narratives but rather collections of vignettes and sight gags that coalesce into a worldview. The now-gray-bearded filmmaker is the lone recurring character, a silent (except for precisely two lines of dialogue) and unsmiling observer of the absurdity of daily life in Nazareth, Paris and New York.\u003c/p>\n\u003cp>Clad in the same straw hat, slate jacket and jeans in every scene and setting, Suleiman is always an outsider, even in Palestine. That feeling is underscored by people interacting with each other as if they were aliens unversed in normal human behavior. The key consequence is that the usual Suleiman empathy and warmth, typically expressed via a raised eyebrow, is missing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alas, \u003cem>It Must Be Heaven\u003c/em> (which is Palestine’s official submission to the Oscars) is, to me, his least funny film by a mile. It may be as simple as a batch of gags failing to land—though the Bergman-meets-Woody Allen image of Death at a Manhattan falafel cart does elicit a laugh, as well as consideration of its layers of meaning—or perhaps it’s a symptom of a more serious condition: Suleiman no longer sees anything amusing about the Palestinians’ situation, or a world that tolerates their plight day after day, month after month, year after year. \u003c/p>\n\n",
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"content": "\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLZk03rXpVc\u003c/p>\n\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DebCN7U65vY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\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=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Note: This film is now in limited theatrical release before debuting on Netflix on Friday, October 25th. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Eddie Murphy, who had name-above-title billing in a hit movie at 21, was one of the biggest stars in the world at 25, and whose imminent “comeback” has been a three-decade topic that a steady role in the animated \u003cem>Shrek\u003c/em> franchise and an Oscar nomination (for \u003cem>Dreamgirls\u003c/em>) couldn’t silence, is an odd choice to play Rudy Ray Moore.\u003c/p>\n\u003cp>Moore chased success as a singer, dancer, and stand-up before finding it in his mid-forties (in the early ’70s) in the persona of Dolemite, his pimp-styled character who delivered artfully filthy rhymes over a backbeat. In the decorous language of his 2008 \u003cem>New York Times \u003c/em>obituary, Moore’s “standup comedy, records and movies related earthy rhyming tales of a vivid gaggle of characters as they lurched from sexual escapade to sexual escapade in a boisterous tradition, born in Africa, that helped shape today’s hip-hop.”\u003c/p>\n\u003cp>Certainly the blue-chip cast that has shown up to support Murphy in the buoyant-but-superficial Netflix biopic \u003cem>Dolemite Is My Name\u003c/em> is its own tribute to Moore’s intersectional significance: Snoop Dogg and Chris Rock appear in two-scene roles, with Keegan-Michael Key, Titus Burgess, Craig Robinson, and Mike Epps in beefier parts as Moore’s various collaborators. Wesley Snipes’ effeminate characterization of D’urville Martin, who directed and played the villain in the 1975 blaxploitation classic \u003cem>Dolemite—\u003c/em>the film that solidified Moore’s cult… stardom?—may strike some viewers as homophobic, but it’s the first real performance that Snipes, who a generation ago appeared to be an actor whose versatility and magnetisim were without limit, has given in too many years.\u003c/p>\n\u003cp>None of these men have been cast for their resemblance to the people they’re playing. But Murphy, despite how much he seems to love filling out Dolemite’s flamboyant suits, doesn’t even try to look or sound like Moore. (His Bill Cosby impression in his 1988 concert film \u003cem>Raw\u003c/em> is a much closer act of mimicry than anything he does here.) He just throws himself headlong into this incurious depiction of Moore as an entertainer who didn’t much care whether his audience was laughing with him or at him, so long as they were laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gLZk03rXpVc'\n title='//www.youtube.com/embed/gLZk03rXpVc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Neither the performance nor the movie surrounding it attempts the sort of sober psychological investigation that Will Smith brought to his performance as Muhammad Ali, for example. Murphy and director Craig Brewer (who are working together again on a \u003cem>Coming to America\u003c/em> sequel due next year) have opted for a feel-good approach, letting Scott Bomar’s pastiche-funk score and the warm camaraderie among the cast—and those wonderful suits—propel their tale of underdog triumph. What emotional depth it has comes mostly from Da’Vine Joy Randolph’s commanding turn as Lady Reed, whom Moore recruits to be his onstage comic foil after watching her deck her philandering husband at a nightclub where he’s performing. A scene where she thanks him for talking her into trying showbiz because she’s never seen anyone who looks like her on screen before feels anachronistic, but it’s moving all the same.\u003c/p>\n\u003cp>After a while, it becomes apparent that this is less a character study than an Origins of a Turkey movie in the tradition of the recent \u003cem>The Disaster Artist\u003c/em> or 1994’s \u003cem>Ed Wood. \u003c/em>Its screenplay, come to that, is by the \u003cem>Ed Wood\u003c/em> duo of Scott Alexander and Larry Karaszewski, who that same decade gave us \u003cem>The People Vs. Larry Flynt \u003c/em>and \u003cem>Man on the Moon\u003c/em> (with A-lister Jim Carrey as cult comic Andy Kaufman). So clearly these writers are interested in figures whose work challenges notions of taste and propriety. But \u003cem>Dolemite Is My Name,\u003c/em> for all its potent entertainment value, never musters the same curiosity about its subject that those ’90s movies did.\u003c/p>\n\u003cp>Instead,\u003cem> Dolemite Is My Name\u003c/em> compresses the events of five years or so into a breezy calendar-flipping arc, starting with Moore’s triumph as a DIY peddler of dirty comedy records and climaxing with his success as a DIY film producer and star. The eureka moment wherein he decides he belongs in the pictures comes when he and his pals go—on the recommendation of a glowing newspaper review!—to see Billy Wilder’s 1974 version of \u003cem>The Front Page.\u003c/em> While the movie’s overwhelmingly white audience howls, Moore and his friends are stone-faced. Moore’s verdict is harsh but two-thirds indisputable: “That movie had no funny, no titties, and no Kung Fu!”\u003c/p>\n\u003cp>Had Wilder had the benefit of such insight, \u003cem>Double Indemnity\u003c/em> and \u003cem>Some Like It Hot\u003c/em> might have been very different films. But Murphy-as-Moore’s other note—that \u003cem>The Front Page\u003c/em> had no performers of color—sticks, even if the notion that “people like us” (in Moore’s words) can’t appreciate the sort of mordant comedy Wilder was into is potentially problematic. Brewer, who directed \u003cem>Hustle and Flow\u003c/em> and \u003cem>Black Snake Moan,\u003c/em> is undeterred by “potentially problematic,” as is Murphy.\u003c/p>\n\u003cp>Obviously a long-unsated appetite among black audiences to see themselves represented in mass entertainment was key to the success of the blaxploitation genre, but that alone cannot account for the specific popularity of \u003cem>Dolemite, \u003c/em>a hilariously low-rent production that made earlier penny-pinching blaxploitation hits like \u003cem>Coffy\u003c/em> or \u003cem>Black Caesar\u003c/em> look lavish by comparison. It’s full of catatonic line readings, boom mics dipping into frame, and halfhearted karate kicks from a winded star who doesn’t look fit enough to take on a flight of stairs. When my friends and I watched \u003cem>Dolemite\u003c/em> repeatedly in high school in the 90s, we would argue whether its irresistible awfulness was intentional or not.\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/DebCN7U65vY'\n title='//www.youtube.com/embed/DebCN7U65vY'\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>For what it’s worth, \u003cem>Dolemite Is My Name \u003c/em>splits the difference, suggesting that \u003cem>Dolemite’\u003c/em>s room-destroying sex scene was designed to be funny, but that the hilarity of its fights stemmed from genuine incompetence. In that spirit, we witness the filming of the infamous throw-down that ensues when three white FBI agents confront Dolemite in his driveway and try to take him into custody. Is it a deliberate in-joke that Martin—the director who watches his hopeless performers fumble their way through their fight choreography and concludes that a second take would be futile—is played by Snipes, the one genuine martial artist in the movie? A guy whose overindulgence in action flicks arguably ruined his career as a serious actor? Probably. In any case, it’s a fun thing to argue about with your friends.\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=A+Breezy+Look+At+The+Making+Of+A+Blaxploitation+Classic%3A+%27Dolemite+Is+My+Name%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Joker' is Wild... ly Dull",
"headTitle": "‘Joker’ is Wild… ly Dull | KQED",
"content": "\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zAGVQLHvwOY\u003c/p>\n\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the comics and cartoons—and on film, as played by Jack Nicholson, Heath Ledger and (checks notes) Jared Leto—the Joker, Batman’s archenemy, is an agent of chaos.\u003c/p>\n\u003cp>To be clear: It’s a calculating, meticulously planned chaos. That speech Ledger’s Joker gives in the hospital, in \u003cem>The Dark Knight\u003c/em>? Where he says he’s not a planner, he’s just a “dog chasing cars?” Yeah, that’s a lie. Because underneath that terrifying, physiology-defying grin and that laugh like a hyena on nitrous, there’s a coldly cunning criminal mastermind—he’s just hidden it behind his purple riverboat-gambler couture and his penchant for goofy, playing-card-themed capers, hoping you don’t notice.\u003c/p>\n\u003cp>Funny thing about the Joker. (Historically, he’s referred to as both The Joker and Joker—the definite article gets a lot less definitive around him, in much the same way it does around his opposite number, The Batman/Batman.) He’s unique among Batman’s rogues gallery. Penguin, Riddler, Catwoman, Clayface, Scarecrow—the whole lot: When \u003cem>they \u003c/em>were first introduced in the comics, they were introduced by way of their origin stories. The reader encountered them embarked upon some act of moral turpitude and immediately learned their entire deal—their real name, their background and why they settled upon whichever absurd larcenous gimmick (birds, riddles, cats, etc.) that they did.\u003c/p>\n\u003cp>Not the Joker. When he debuted in 1940—just one year after Batman’s first appearance—he didn’t waste our time whinging on about his backstory; he just set to work killin’ folk. It took an unprecedented 11 years for him to earn an origin tale—and even then, it was a half-assed one. We didn’t learn his real name, or his background, just that he was a crook who had jumped into a vat of chemicals to escape capture by Batman, which transformed him into the grinning ghoul we know today, the Clown Prince of Crime.\u003c/p>\n\u003cp>It’s that version of his origin story (others have been offered over the years) that writer Alan Moore and artist Brian Bolland made some tweaks to in 1988’s unrelentingly grim \u003cem>The Killing Joke\u003c/em> graphic novel, and that Tim Burton took up and played with—adding a generous dollop of Jack Nicholson—in 1989’s \u003cem>Batman \u003c/em>film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both attempts—and that original, 1951 origin tale—diminished the character. As a concept, the Joker is a beautiful (albeit vicious) butterfly; his colors dim once you pin him to the specimen board. He functions best as a symbol, an abstract representation—or more precisely a \u003cem>distillation\u003c/em>—of the kind of random act of violence that birthed Batman in the first place. (Batman’s parents were killed by a mugger, FYI. Don’t know if you knew that. It’s possible you’ve been sealed in a vault for the past 80 years, so just in case: alley, gun, pearls, it was a whole deal.)\u003c/p>\n\u003cp>He is a vector for disorder, for gleeful, heedless violence. If Batman is Merciless Order (he wasn’t always, but he became so, around 1970), then Joker is Sadistic Chaos. He is Batman’s perfect foil. He is, simply, The Adversary.\u003c/p>\n\u003cp>One of the many things Christopher Nolan’s \u003cem>The Dark Knight\u003c/em> got right about the character is that we only \u003cem>think \u003c/em>we want to know who he is and where he came from. The Joker works best, most purely, when unencumbered by the humdrum of the everyday. His motivations must and should remain mysterious, unknowable.\u003c/p>\n\u003cp>Director Todd Phillips’ new film seeks to strip all mystery from the character and make his motivations \u003cem>very \u003c/em>knowable. And in that much at least, he succeeds.\u003c/p>\n\u003cp>Meet Arthur Fleck (Joaquin Phoenix), a down-on-his-luck clown for hire, only … he’s having a little trouble getting hired. Arthur has a condition that causes him to burst into laughter at random intervals, which tends to creep people out. And get him beaten up. A lot.\u003c/p>\n\u003cp>(If you’re curious about the degree of subtlety and restraint that Phillips brings to his subject, know that \u003cem>Joker \u003c/em>is the kind of movie in which a bunch of punk kids beat up our hero while shouting “Beat him up!” and kick our hero while shouting “Kick him!”)\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/zAGVQLHvwOY'\n title='//www.youtube.com/embed/zAGVQLHvwOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Arthur suffers one of his many onscreen beatings at the hands (and feet) of a bunch of Wall Street bros on the subway, who taunt him by singing “Send In The Clowns.” Nearly in its entirety. (The scene goes on for a while.)\u003c/p>\n\u003cp>It’s really the only time in this otherwise grounded, grim and gritty film that we’re asked to suspend our disbelief at all—because, seriously, we’re supposed to buy that a straight finance bro would be off-book on the \u003cem>second and third verses of a Sondheim number\u003c/em>?\u003c/p>\n\u003cp>(“Bro! I spent last night poundin’ brews and fallin’ down \u003cem>A Little Night Music\u003c/em> YouTube wormhole! The Dench, bro! The Dench \u003cem>crushed it\u003c/em>!” “Naw man, you gotta see my girl CZ-J in the 2009 Broadway revival, she makes Desiree’s wry and winsome melancholy A THING YOU CAN FEEL IN YOUR ‘NADS BRO.”)\u003c/p>\n\u003cp>When the city cuts the funding for his social worker, Arthur goes off his meds and throws himself into his would-be stand-up comedy career.\u003c/p>\n\u003cp>It doesn’t go well. Put it that way.\u003c/p>\n\u003cp>\u003cem>Joker\u003c/em> is, ostensibly, a downfall story—a tale of how a broken man got broken in the first place. To make stories compelling, to keep audiences’ interest when the conclusion is foregone, storytellers need to forgo what they know audiences already expect to see. But Phillips and his co-screenwriter Scott Silver aren’t interested in iterating or innovating, because doing so would clash with their mission statement.\u003c/p>\n\u003cp>They want us to see Arthur as a victim, pushed into becoming a monster by his mental illness and a broken government. You may or may not find that prospect irresponsible, even dangerous. Let’s leave that to social scientists. What I can tell you is that, as executed in \u003cem>Joker\u003c/em>, it’s wildly unconvincing and mundanely uninteresting.\u003c/p>\n\u003cp>Certainly, \u003cem>Joker \u003c/em>is tense, grimy and claustrophobic, and Phoenix’s performance is a big swing, and a risky one—the kind of big, risky swing that Oscar voters historically eat up with a big ol’ spoon.\u003c/p>\n\u003cp>But the film so desperately strives to reject comic book trappings—so aches to be seen as edgy, provocative, serious, adult—that it simply apes the tone, style and content of other, better, edgier and more provocative films like \u003cem>Taxi Driver\u003c/em> and \u003cem>The King of Comedy\u003c/em> and \u003cem>Fight Club\u003c/em>.\u003c/p>\n\u003cp>But \u003cem>those \u003c/em>films had a point of view, they had something to say—they implicated us in their onscreen violence, in the bad choices their characters made.\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>sees Arthur’s transformation into a mass murderer as inevitable. It’s not a choice; it’s something the world does \u003cem>to\u003c/em> him. As a result of his passivity, the story becomes little more than Arthur suffering a string of indignities until, one day, heroically (?), he doesn’t anymore. It swiftly grows predictable, then repetitive, then dull.\u003c/p>\n\u003cp>But the film doesn’t care—it’s too busy exuding a sense of self-satisfaction, a preening, self-consciously provocative challenge to an audience—a \u003cem>humanity\u003c/em>—it holds in pitched contempt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Joker \u003c/em>thinks of itself as urgent, relevant, of the moment and—mostly, unrelentingly—not just another silly superhero movie. Ultimately, however, it devotes so much of its energy into \u003cem>not \u003c/em>being about a comic book villain that it neglects being about … much of anything, really.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Joker%27+Is+Wild+...+ly+Dull&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "This List of Each State's Favorite Movie Candy Will Shock and Appall You",
"headTitle": "This List of Each State’s Favorite Movie Candy Will Shock and Appall You | KQED",
"content": "\u003cp>A new list has been compiled of America’s favorite movie candy, broken down state-by-state—and some of the results are very much \u003cem>not\u003c/em> okay.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/LightsCameraPod?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">\u003cem>Lights, Camera, Barstool\u003c/em>\u003c/a> podcast posted a map to social media, claiming that the candies selected for each state were dictated (“unofficially”!) by social media posts, combined with sales figures from Walmart and Target. But, oh boy, the joylessness inherent in some of these selections is so deeply upsetting, we are forced to question just how scientific the research that went into this is.\u003c/p>\n\u003cp>According to the map, of all the candy in all the world, Connecticut chooses \u003cem>raisins.\u003c/em> Texas, Idaho and South Carolina all favor black licorice (ew). Utah is apparently munching on something called \u003ca href=\"https://www.spanglercandy.com/our-brands/necco-wafers\" target=\"_blank\" rel=\"noopener\">Necco Wafers\u003c/a> that look like they’re from the 1930s. And most shockingly of all, North Dakota and Wisconsin finally provide an answer to the age-old question: Who in God’s name would eat baked beans or Kraft cheese slices at the movies? (Can it really be true?)\u003c/p>\n\u003cp>The most popular candy overall is M&Ms, with four states (New Hampshire, South Dakota, West Virginia and Wyoming) favoring them, followed by Tootsie Rolls, Reese’s Pieces and (again: ew) black licorice with three votes each respectively. California, quite typically, is dancing to the beat of its own drummer with Dots.\u003c/p>\n\u003cp>Accurate or not, the full list is a lot of fun:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alabama: Tootsie Rolls\u003cbr>\nAlaska: Wax Bottles\u003cbr>\nArizona: Candy Dots\u003cbr>\nArkansas: Junior Mints\u003cbr>\nCalifornia: Dots\u003cbr>\nColorado: Dum Dums\u003cbr>\nConnecticut: Raisins\u003cbr>\nDelaware: Reese’s Pieces\u003cbr>\nFlorida: Dum Dums\u003cbr>\nGeorgia: Smarties\u003cbr>\nHawaii: Wax Bottles\u003cbr>\nIdaho: Black licorice\u003cbr>\nIllinois: Sixlets\u003cbr>\nIndiana: Milk Duds\u003cbr>\nIowa: Candy Corn\u003cbr>\nKansas: Sixlets\u003cbr>\nKentucky: Bit-O-Honey\u003cbr>\nLouisiana: Pixie Sticks\u003cbr>\nMaine: Buncha Crunch\u003cbr>\nMaryland: Werther’s Original\u003cbr>\nMassachussetts: Circus Peanuts\u003cbr>\nMichigan: Good & Plenty\u003cbr>\nMinnesota: Almond Joy\u003cbr>\nMississippi: Candy Corn\u003cbr>\nMissouri: Sour Patch Kids\u003cbr>\nMontana: Buncha Crunch\u003cbr>\nNebraska: Junior Mints\u003cbr>\nNevada: Skittles\u003cbr>\nNew Hampshire: M&Ms\u003cbr>\nNew Jersey: Banana Laffy Taffy\u003cbr>\nNew Mexico: Reese’s Pieces\u003cbr>\nNew York: Pixie Sticks\u003cbr>\nNorth Carolina: Werther’s Original\u003cbr>\nNorth Dakota: Baked Beans\u003cbr>\nOhio: Lemonheads\u003cbr>\nOklahoma: Raisinets\u003cbr>\nOregon: Good & Plenty\u003cbr>\nPennsylvania: Jujyfruits\u003cbr>\nRhode Island: Lemonheads\u003cbr>\nSouth Carolina: Black licorice\u003cbr>\nSouth Dakota: M&Ms\u003cbr>\nTennessee: Tootsie Rolls\u003cbr>\nTexas: Black licorice\u003cbr>\nUtah: Necco Wafers\u003cbr>\nVermont: Candy Corn\u003cbr>\nVirginia: Tootsie Rolls\u003cbr>\nWashington: Reese’s Pieces\u003cbr>\nWashington DC: Cookie Dough Bites\u003cbr>\nWest Virginia: M&Ms\u003cbr>\nWisconsin: Kraft Cheese Slices\u003cbr>\nWyoming: M&Ms\u003c/p>\n\u003cp>People had feelings…\u003c/p>\n\u003cp>https://twitter.com/TalkinNothing/status/1178768126722355200\u003c/p>\n\u003cp>https://twitter.com/bookmarklit/status/1179050519861628928\u003c/p>\n\u003cp>https://twitter.com/shmermel/status/1179031630717079552\u003c/p>\n\u003cp>https://twitter.com/IanKenyonNFL/status/1179018687828959232\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/BlakeyLocks/status/1178797339810635779\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new list has been compiled of America’s favorite movie candy, broken down state-by-state—and some of the results are very much \u003cem>not\u003c/em> okay.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/LightsCameraPod?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">\u003cem>Lights, Camera, Barstool\u003c/em>\u003c/a> podcast posted a map to social media, claiming that the candies selected for each state were dictated (“unofficially”!) by social media posts, combined with sales figures from Walmart and Target. But, oh boy, the joylessness inherent in some of these selections is so deeply upsetting, we are forced to question just how scientific the research that went into this is.\u003c/p>\n\u003cp>According to the map, of all the candy in all the world, Connecticut chooses \u003cem>raisins.\u003c/em> Texas, Idaho and South Carolina all favor black licorice (ew). Utah is apparently munching on something called \u003ca href=\"https://www.spanglercandy.com/our-brands/necco-wafers\" target=\"_blank\" rel=\"noopener\">Necco Wafers\u003c/a> that look like they’re from the 1930s. And most shockingly of all, North Dakota and Wisconsin finally provide an answer to the age-old question: Who in God’s name would eat baked beans or Kraft cheese slices at the movies? (Can it really be true?)\u003c/p>\n\u003cp>The most popular candy overall is M&Ms, with four states (New Hampshire, South Dakota, West Virginia and Wyoming) favoring them, followed by Tootsie Rolls, Reese’s Pieces and (again: ew) black licorice with three votes each respectively. California, quite typically, is dancing to the beat of its own drummer with Dots.\u003c/p>\n\u003cp>Accurate or not, the full list is a lot of fun:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>I should take off my Spider-Man hoodie, shouldn’t I?\u003c/em>\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $800/month\u003c/li>\n\u003cli>Internet: $100/month\u003c/li>\n\u003cli>Coffee: $300/month\u003c/li>\n\u003cli>Comic shop income: $1,200/month\u003c/li>\n\u003cli>Teaching income: $100–$250/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tommybeland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Tom Beland\u003c/a> was walking up to the front door, and he was still second-guessing his wardrobe. He’d been desperately trying to find a place to live in Santa Rosa during a seemingly never-ending housing crisis. He knew he should probably appear professional to the landlord renting the room.\u003c/p>\n\u003cp>\u003cem>Screw it\u003c/em>, Beland thought, as he knocked on the door. \u003cem>I’ll leave the hoodie on\u003c/em>.\u003c/p>\n\u003cp>The door opened. The house, he quickly noticed, was filled with \u003cem>Star Wars\u003c/em> memorabilia. The guy renting out the room couldn’t care less about a Spider-Man hoodie, and the room was a steal: large, with its own side entrance, for only $800 a month. Beland assumed it’d be rented to a single mom or someone displaced by eviction. When he got the call that he could have it, “I got emotional, right there in my car,” he recalls.\u003c/p>\n\u003cp>The thing is, Beland \u003cem>was\u003c/em> appearing professional by wearing his hoodie. After all, he’d worked on \u003cem>Spider-Man\u003c/em>. For Marvel.\u003c/p>\n\u003cfigure id=\"attachment_13867416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg\" alt=\"Beland holding up drawings from 'Chicacabra,' a comic optioned by Selena Gomez.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland holding up drawings from ‘Chicacabra,’ a comic optioned by Selena Gomez. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From autobiographical zines to movie options\u003c/h2>\n\u003cp>Beland, 57, is a cartoonist. That means he draws pretty much constantly. During his downtime working at Outer Planes, a Santa Rosa comic book store, he draws. He teaches drawing classes to young students, where he draws, and picks up freelance gigs, for which he draws. Lately he’s been going to steampunk circus-type events, studying the performers, who he draws. Often, he’ll be at a local cafe every day, where he sits, and draws.\u003c/p>\n\u003cp>Beland lives a city that was home to the world’s most famous cartoonist, Charles Schulz, whose presence lingers throughout Santa Rosa in roadside statues of his \u003cem>Peanuts\u003c/em> characters and a museum bearing his name. But the landscape for comics has changed considerably since Schulz’s day.\u003c/p>\n\u003cp>Along with his $800 rent in the Roseland neighborhood of Santa Rosa, Beland estimates his other major living expenses are internet at $100 a month, and coffee at the cafes where he draws (“that’s my studio rent,” he quips)—$300 a month on average. Working primarily on an iPad now, he doesn’t have to buy many art supplies, and he avoids paying for TV by watching bootleg NBA streams on Reddit. Sometimes, he’ll get free coffee or food from waitresses or cooks who know him as the cartoonist guy who leaves clever drawings of the staff with his bill.\u003c/p>\n\u003cfigure id=\"attachment_13867442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg\" alt=\"Beland working at Brew, a cafe in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beland working at Brew, a cafe in Santa Rosa. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beland’s day job at the comic book store still provides the most income: about $1,200 a month on average, he says. The money from the lessons he teaches ranges from $100–$250 a month. The rest of his income ebbs and flows from various sources.\u003c/p>\n\u003cp>Beland has freelanced for Marvel, DC and Bongo; his byline is on comic books of \u003cem>Fantastic Four\u003c/em>, \u003cem>Wolverine\u003c/em>, \u003cem>Avengers\u003c/em> and \u003cem>The Simpsons\u003c/em>. When Beland first \u003ca href=\"https://www.marvel.com/comics/creators/726/tom_beland\" rel=\"noopener noreferrer\" target=\"_blank\">got asked to write \u003cem>Spider-Man\u003c/em> comic books\u003c/a> for Marvel, it was a dream come true: his own parents died when he was young, and reading \u003cem>Spider-Man\u003c/em>, the orphaned superhero, helped him through the pain.\u003c/p>\n\u003cp>“It’s one thing to read these characters, but when they’re saying words that came out of your head, it’s crazy,” he says. “I never thought I could love Spider-Man more than when I got to write Spider-Man.”\u003c/p>\n\u003cp>For his most recent \u003cem>Spider-Man\u003c/em> work in 2009, Beland got $170 per page—half for coming up with the story idea, or “plotting,” and half for writing. (Under his \u003cem>Spider-Man\u003c/em> deal, he gets royalties if the comics go to paperback. For \u003cem>The Simpsons\u003c/em>, he was paid $200 a page, but with no royalty option.)\u003c/p>\n\u003cfigure id=\"attachment_13867415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg\" alt=\"Beland's pantry holds food and stacks of drawings.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland’s pantry holds food and stacks of drawings. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Beland’s own books, his first was \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/2068084.True_Story_Swear_To_God_Archives_Volume_1_True_Story_Swear_to_God\" rel=\"noopener noreferrer\" target=\"_blank\">True Story Swear to God\u003c/a>\u003c/em>, which started as a comic strip in his hometown newspaper in Napa, the \u003cem>Napa Valley Register\u003c/em>, where he was on staff for 17 years. Initially photocopying the autobiographical comics in zine form with a cover price of $2.25 each, they were then anthologized in a book that garnered six nominations at the Eisner Awards, the highest honor in cartooning. The publishing rights now belong to Image Comics, which has kept it in print, although Beland has yet to recoup royalties from it.\u003c/p>\n\u003cp>Beland’s latest book, \u003cem>\u003ca href=\"https://www.idwpublishing.com/product/chicacabra/\" rel=\"noopener noreferrer\" target=\"_blank\">Chicacabra\u003c/a>\u003c/em>, also has yet to get out of the red. But it landed in the hands of pop star Selena Gomez, who loved the story so much she optioned it for a movie. An option doesn’t necessarily mean the film will get made; only that the one paying for the option has dibs on making it. And the pay can be good. Beland’s first option check for \u003cem>Chicacabra\u003c/em> was for $5,000. A second check came within the year, again for $5,000. He’s expecting a $10,000 check soon for another option renewal. \u003c/p>\n\u003cp>\u003cem>Chicacabra\u003c/em> follows the adventures of a Puerto Rican high school student, Isabel Sanchez, who after family tragedy discovers a mysterious, literal demon living inside of her body. “I made three demands,” Beland says of the option deal. “That she stay Puerto Rican, if possible, that I want an all-Latino crew, and that I want women on the writing staff. And I got all three.”\u003c/p>\n\u003cp>For Beland—who, like Gomez, openly wrestles with depression—the checks are an unexpected bonus to something he wrote five years ago. Like writing for \u003cem>Spider-Man\u003c/em>, though, it’s more than the money. \u003c/p>\n\u003cp>“I can see why Selena grabbed that character,” Beland says. “She’s dark, she’s broken, she’s shattered.”\u003c/p>\n\u003cfigure id=\"attachment_13867418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg\" alt=\"Beland now uses an iPad and stylus to do all his drawing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland now uses an iPad and stylus to do all his drawing. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An unexpected windfall and a viral hit\u003c/h2>\n\u003cp>A couple years ago, Beland himself was broken and shattered. On his way to his job at the comic book store, he was hit by a car on his scooter. He broke two ribs and shattered his elbow. He nearly settled for $5,000 when a former editor convinced him to talk to a lawyer.\u003c/p>\n\u003cp>“It was a year and a half of walking two miles from home to the comic shop,” Beland says. “I couldn’t afford bus fare every day. Food was minimum of bologna sandwiches every day.” (He still keeps a modest pantry—canned soup, white bread, Twinkies—inside an armoire in his room.)\u003c/p>\n\u003cp>The other driver’s insurance company eventually paid $75,000. After the lawyers took their cut, and Beland bought a new car, a comfortable pad of about $20,000 remained in the bank. Having no other savings or retirement investments, he’s tried not to touch it.\u003c/p>\n\u003cp>The iPad, something he once swore he’d never use, is an exception. It cost about $1,000, the special stylus another $100. For Beland, it felt wrong, spending so much money. “I don’t buy things like that. I’d been poor for four years,” he says. “I felt guilty when I bought it.”\u003c/p>\n\u003cfigure id=\"attachment_13867454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg\" alt=\"Stacks of comics and drawings abound in Tom Beland's $800/month room in a shared Santa Rosa house.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacks of comics and drawings abound in Tom Beland’s $800/month room in a shared Santa Rosa house. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon, he was drawing on it nonstop (“I was like Wayne Gretzky the first time he put skates on,” he jokes), and the digital nature of the iPad has allowed him to sell portraits at circus and burlesque shows quickly and cheaply, for $15–$40 each. \u003c/p>\n\u003cp>Some of Beland’s work doesn’t pay at all. Recently he contributed a two-page story sharply critical of Trump to \u003cem>\u003ca href=\"https://www.lionforge.com/puerto-rico-strong/\" rel=\"noopener noreferrer\" target=\"_blank\">Puerto Rico Strong\u003c/a>\u003c/em>, which won an Eisner Award for Best Anthology. The proceeds went to hurricane relief on the island, where Beland lived and called home for 20 years.\u003c/p>\n\u003cp>But Beland’s most-viewed drawing was one he did in about 15 minutes. In 2018, he’d just seen \u003cem>Black Panther\u003c/em> at the movie theater, where he saw some African American children in the lobby pointing at the movie poster, saying “That’s me.” He sketched the scene, posted it on Facebook, and it quickly went viral. After Michael B. Jordan, one of the film’s stars, reposted it, Marvel got in touch asking to use it as a special variant cover for the \u003cem>Black Panther\u003c/em> comic book.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bfo4cOWHEw7/\u003c/p>\n\u003cp>Marvel paid him $650 for the sketch. But again, it was about more than the money. Beland was flown around the country for signings, and “I got hugged by a lot of people,” he says. “There were some real emotional moments.”\u003c/p>\n\u003cp>For the time being, Beland wants to stay in the Bay Area, despite the high cost of living. His brother lives here, “and he’s everything to me,” he says.[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>And having been in the business for over 30 years, he has some advice for up-and-coming cartoonists.\u003c/p>\n\u003cp>“You better be ready to grind,” he says. “If you’re going to be a pro baseball player, you’re not going from high school to the Yankees. You’re on a bus. If you’re doing comedy, you’re in a car, you’re going to go to some hotel that’s horrendous, and you maybe get 25 bucks.”\u003c/p>\n\u003cp>“But,” Beland continues, “it gets you to that gig that’s really interesting. And it gives you the jones to go back and do that next thing. That’s what I’m always looking for. The next thing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $800/month\u003c/li>\n\u003cli>Internet: $100/month\u003c/li>\n\u003cli>Coffee: $300/month\u003c/li>\n\u003cli>Comic shop income: $1,200/month\u003c/li>\n\u003cli>Teaching income: $100–$250/month\u003c/li>\n\u003c/ul>\n\u003cp>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tommybeland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Tom Beland\u003c/a> was walking up to the front door, and he was still second-guessing his wardrobe. He’d been desperately trying to find a place to live in Santa Rosa during a seemingly never-ending housing crisis. He knew he should probably appear professional to the landlord renting the room.\u003c/p>\n\u003cp>\u003cem>Screw it\u003c/em>, Beland thought, as he knocked on the door. \u003cem>I’ll leave the hoodie on\u003c/em>.\u003c/p>\n\u003cp>The door opened. The house, he quickly noticed, was filled with \u003cem>Star Wars\u003c/em> memorabilia. The guy renting out the room couldn’t care less about a Spider-Man hoodie, and the room was a steal: large, with its own side entrance, for only $800 a month. Beland assumed it’d be rented to a single mom or someone displaced by eviction. When he got the call that he could have it, “I got emotional, right there in my car,” he recalls.\u003c/p>\n\u003cp>The thing is, Beland \u003cem>was\u003c/em> appearing professional by wearing his hoodie. After all, he’d worked on \u003cem>Spider-Man\u003c/em>. For Marvel.\u003c/p>\n\u003cfigure id=\"attachment_13867416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg\" alt=\"Beland holding up drawings from 'Chicacabra,' a comic optioned by Selena Gomez.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland holding up drawings from ‘Chicacabra,’ a comic optioned by Selena Gomez. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From autobiographical zines to movie options\u003c/h2>\n\u003cp>Beland, 57, is a cartoonist. That means he draws pretty much constantly. During his downtime working at Outer Planes, a Santa Rosa comic book store, he draws. He teaches drawing classes to young students, where he draws, and picks up freelance gigs, for which he draws. Lately he’s been going to steampunk circus-type events, studying the performers, who he draws. Often, he’ll be at a local cafe every day, where he sits, and draws.\u003c/p>\n\u003cp>Beland lives a city that was home to the world’s most famous cartoonist, Charles Schulz, whose presence lingers throughout Santa Rosa in roadside statues of his \u003cem>Peanuts\u003c/em> characters and a museum bearing his name. But the landscape for comics has changed considerably since Schulz’s day.\u003c/p>\n\u003cp>Along with his $800 rent in the Roseland neighborhood of Santa Rosa, Beland estimates his other major living expenses are internet at $100 a month, and coffee at the cafes where he draws (“that’s my studio rent,” he quips)—$300 a month on average. Working primarily on an iPad now, he doesn’t have to buy many art supplies, and he avoids paying for TV by watching bootleg NBA streams on Reddit. Sometimes, he’ll get free coffee or food from waitresses or cooks who know him as the cartoonist guy who leaves clever drawings of the staff with his bill.\u003c/p>\n\u003cfigure id=\"attachment_13867442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg\" alt=\"Beland working at Brew, a cafe in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beland working at Brew, a cafe in Santa Rosa. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beland’s day job at the comic book store still provides the most income: about $1,200 a month on average, he says. The money from the lessons he teaches ranges from $100–$250 a month. The rest of his income ebbs and flows from various sources.\u003c/p>\n\u003cp>Beland has freelanced for Marvel, DC and Bongo; his byline is on comic books of \u003cem>Fantastic Four\u003c/em>, \u003cem>Wolverine\u003c/em>, \u003cem>Avengers\u003c/em> and \u003cem>The Simpsons\u003c/em>. When Beland first \u003ca href=\"https://www.marvel.com/comics/creators/726/tom_beland\" rel=\"noopener noreferrer\" target=\"_blank\">got asked to write \u003cem>Spider-Man\u003c/em> comic books\u003c/a> for Marvel, it was a dream come true: his own parents died when he was young, and reading \u003cem>Spider-Man\u003c/em>, the orphaned superhero, helped him through the pain.\u003c/p>\n\u003cp>“It’s one thing to read these characters, but when they’re saying words that came out of your head, it’s crazy,” he says. “I never thought I could love Spider-Man more than when I got to write Spider-Man.”\u003c/p>\n\u003cp>For his most recent \u003cem>Spider-Man\u003c/em> work in 2009, Beland got $170 per page—half for coming up with the story idea, or “plotting,” and half for writing. (Under his \u003cem>Spider-Man\u003c/em> deal, he gets royalties if the comics go to paperback. For \u003cem>The Simpsons\u003c/em>, he was paid $200 a page, but with no royalty option.)\u003c/p>\n\u003cfigure id=\"attachment_13867415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg\" alt=\"Beland's pantry holds food and stacks of drawings.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland’s pantry holds food and stacks of drawings. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Beland’s own books, his first was \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/2068084.True_Story_Swear_To_God_Archives_Volume_1_True_Story_Swear_to_God\" rel=\"noopener noreferrer\" target=\"_blank\">True Story Swear to God\u003c/a>\u003c/em>, which started as a comic strip in his hometown newspaper in Napa, the \u003cem>Napa Valley Register\u003c/em>, where he was on staff for 17 years. Initially photocopying the autobiographical comics in zine form with a cover price of $2.25 each, they were then anthologized in a book that garnered six nominations at the Eisner Awards, the highest honor in cartooning. The publishing rights now belong to Image Comics, which has kept it in print, although Beland has yet to recoup royalties from it.\u003c/p>\n\u003cp>Beland’s latest book, \u003cem>\u003ca href=\"https://www.idwpublishing.com/product/chicacabra/\" rel=\"noopener noreferrer\" target=\"_blank\">Chicacabra\u003c/a>\u003c/em>, also has yet to get out of the red. But it landed in the hands of pop star Selena Gomez, who loved the story so much she optioned it for a movie. An option doesn’t necessarily mean the film will get made; only that the one paying for the option has dibs on making it. And the pay can be good. Beland’s first option check for \u003cem>Chicacabra\u003c/em> was for $5,000. A second check came within the year, again for $5,000. He’s expecting a $10,000 check soon for another option renewal. \u003c/p>\n\u003cp>\u003cem>Chicacabra\u003c/em> follows the adventures of a Puerto Rican high school student, Isabel Sanchez, who after family tragedy discovers a mysterious, literal demon living inside of her body. “I made three demands,” Beland says of the option deal. “That she stay Puerto Rican, if possible, that I want an all-Latino crew, and that I want women on the writing staff. And I got all three.”\u003c/p>\n\u003cp>For Beland—who, like Gomez, openly wrestles with depression—the checks are an unexpected bonus to something he wrote five years ago. Like writing for \u003cem>Spider-Man\u003c/em>, though, it’s more than the money. \u003c/p>\n\u003cp>“I can see why Selena grabbed that character,” Beland says. “She’s dark, she’s broken, she’s shattered.”\u003c/p>\n\u003cfigure id=\"attachment_13867418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg\" alt=\"Beland now uses an iPad and stylus to do all his drawing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland now uses an iPad and stylus to do all his drawing. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An unexpected windfall and a viral hit\u003c/h2>\n\u003cp>A couple years ago, Beland himself was broken and shattered. On his way to his job at the comic book store, he was hit by a car on his scooter. He broke two ribs and shattered his elbow. He nearly settled for $5,000 when a former editor convinced him to talk to a lawyer.\u003c/p>\n\u003cp>“It was a year and a half of walking two miles from home to the comic shop,” Beland says. “I couldn’t afford bus fare every day. Food was minimum of bologna sandwiches every day.” (He still keeps a modest pantry—canned soup, white bread, Twinkies—inside an armoire in his room.)\u003c/p>\n\u003cp>The other driver’s insurance company eventually paid $75,000. After the lawyers took their cut, and Beland bought a new car, a comfortable pad of about $20,000 remained in the bank. Having no other savings or retirement investments, he’s tried not to touch it.\u003c/p>\n\u003cp>The iPad, something he once swore he’d never use, is an exception. It cost about $1,000, the special stylus another $100. For Beland, it felt wrong, spending so much money. “I don’t buy things like that. I’d been poor for four years,” he says. “I felt guilty when I bought it.”\u003c/p>\n\u003cfigure id=\"attachment_13867454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg\" alt=\"Stacks of comics and drawings abound in Tom Beland's $800/month room in a shared Santa Rosa house.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacks of comics and drawings abound in Tom Beland’s $800/month room in a shared Santa Rosa house. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon, he was drawing on it nonstop (“I was like Wayne Gretzky the first time he put skates on,” he jokes), and the digital nature of the iPad has allowed him to sell portraits at circus and burlesque shows quickly and cheaply, for $15–$40 each. \u003c/p>\n\u003cp>Some of Beland’s work doesn’t pay at all. Recently he contributed a two-page story sharply critical of Trump to \u003cem>\u003ca href=\"https://www.lionforge.com/puerto-rico-strong/\" rel=\"noopener noreferrer\" target=\"_blank\">Puerto Rico Strong\u003c/a>\u003c/em>, which won an Eisner Award for Best Anthology. The proceeds went to hurricane relief on the island, where Beland lived and called home for 20 years.\u003c/p>\n\u003cp>But Beland’s most-viewed drawing was one he did in about 15 minutes. In 2018, he’d just seen \u003cem>Black Panther\u003c/em> at the movie theater, where he saw some African American children in the lobby pointing at the movie poster, saying “That’s me.” He sketched the scene, posted it on Facebook, and it quickly went viral. After Michael B. Jordan, one of the film’s stars, reposted it, Marvel got in touch asking to use it as a special variant cover for the \u003cem>Black Panther\u003c/em> comic book.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marvel paid him $650 for the sketch. But again, it was about more than the money. Beland was flown around the country for signings, and “I got hugged by a lot of people,” he says. “There were some real emotional moments.”\u003c/p>\n\u003cp>For the time being, Beland wants to stay in the Bay Area, despite the high cost of living. His brother lives here, “and he’s everything to me,” he says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And having been in the business for over 30 years, he has some advice for up-and-coming cartoonists.\u003c/p>\n\u003cp>“You better be ready to grind,” he says. “If you’re going to be a pro baseball player, you’re not going from high school to the Yankees. You’re on a bus. If you’re doing comedy, you’re in a car, you’re going to go to some hotel that’s horrendous, and you maybe get 25 bucks.”\u003c/p>\n\u003cp>“But,” Beland continues, “it gets you to that gig that’s really interesting. And it gives you the jones to go back and do that next thing. That’s what I’m always looking for. The next thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Francisco Symphony Performs a Live Score of 'Get Out'",
"headTitle": "San Francisco Symphony Performs a Live Score of ‘Get Out’ | KQED",
"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>It grossed $255 million worldwide, won Jordan Peele the Best Original Screenplay Oscar (making him the first-ever black recipient of the award), garnered a mountain of critical acclaim and instantly made a mark on pop culture. Adding to the many reasons to appreciate \u003cem>Get Out, \u003c/em>the San Francisco Symphony will accompany a screening of the movie the night before Halloween.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DzfpyUB60YY\u003c/p>\n\u003cp>The chilling original music for the film was masterminded by \u003ca href=\"https://en.wikipedia.org/wiki/Michael_Abels\" target=\"_blank\" rel=\"noopener\">Michael Abels\u003c/a>, a composer based in Southern California who had never scored a movie before. For inspiration, Peele sent Abels some examples of music he found “terrifying,” including Latin chants, old blues and other soundtracks.\u003c/p>\n\u003cp>“The music had to have the emotional depth that the music in a Hitchcock film has,” \u003ca href=\"https://crackmagazine.net/article/long-reads/composer-michael-abels-produced-chilling-score-get/\" target=\"_blank\" rel=\"noopener\">Abels told \u003cem>Crack\u003c/em>\u003c/a> magazine in 2017. “I was really shooting for that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a kind of rhythmic pulse to the score which is unlike a normal suspense score—it’s a lot more modern,” Abels continued. “Whenever we needed a sound which was unfamiliar, we would look to strings or rattles—something based in the natural world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/film\" target=\"_blank\" rel=\"noopener\">Film Night\u003c/a> offers a stellar program—including \u003cem>Coco\u003c/em>, \u003cem>Ghostbusters\u003c/em>, \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Apollo 13\u003c/em> and \u003cem>Love Actually\u003c/em>—for the rest of the year. \u003cem>Get Out\u003c/em> is sure to be a highlight, bringing an acute creep factor to a movie already brimming with claustrophobic terror.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a kind of rhythmic pulse to the score which is unlike a normal suspense score—it’s a lot more modern,” Abels continued. “Whenever we needed a sound which was unfamiliar, we would look to strings or rattles—something based in the natural world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/film\" target=\"_blank\" rel=\"noopener\">Film Night\u003c/a> offers a stellar program—including \u003cem>Coco\u003c/em>, \u003cem>Ghostbusters\u003c/em>, \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Apollo 13\u003c/em> and \u003cem>Love Actually\u003c/em>—for the rest of the year. \u003cem>Get Out\u003c/em> is sure to be a highlight, bringing an acute creep factor to a movie already brimming with claustrophobic terror.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.mvff.com\" rel=\"noopener\" target=\"_blank\">Mill Valley Film Festival\u003c/a>, which opens Thursday, Oct. 3 with the fact-based, racial injustice drama \u003cem>Just Mercy\u003c/em>, smoothly integrates (no pun intended) several paradoxes. For starters, the litany of star-fueled Oscar hopefuls—\u003cem>The Two Popes\u003c/em>, \u003cem>A Hidden Life\u003c/em>, \u003cem>Waves\u003c/em>, \u003cem>Harriet\u003c/em>, \u003cem>Marriage Story\u003c/em>, \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>Frankie\u003c/em>, \u003cem>The Irishman\u003c/em>, \u003cem>The Aeronauts\u003c/em>, \u003cem>The Report\u003c/em> and the closing night films \u003cem>Ford v Ferrari\u003c/em> and \u003cem>Motherless Brooklyn\u003c/em>) comfortably coexists with an even longer list of Bay Area indies (including the world premieres of Rob Nilsson’s \u003cem>Arid Cut\u003c/em> and Jeanne C. Finley’s nonfiction \u003cem>Journeys Behind the Cosmodrome\u003c/em>).\u003c/p>\n\u003cp>Meanwhile, the flash-bulb visits of global stars Laura Dern, Kristin Stewart, Shia LaBeouf, Barbara Rush, Stellan Skarsgard, Olivia Wilde, Robert Pattinson, Lena Olin and Edward Norton somehow won’t overshadow the “Behind the Screens” panels and workshops designed to advise and support aspiring filmmakers. Nor will that glamorous array of couture-clad thespians diminish the impact of the shocking social-justice documentaries that dot the MVFF program.\u003c/p>\n\u003cp>The greatest paradox (or irony?) of MVFF, and pretty much every festival, is that the most provocative and meaningful movies seem to fly under the radar. Israeli filmmaker Nadav Lapid’s Berlinale prizewinner \u003cem>Synonyms\u003c/em> and Bosnian director Ena Sendijarevic’s Rotterdam triumph \u003cem>Take Me Somewhere Nice\u003c/em> highlight this “category,” along with Russian director Kantemir Balagov’s Cannes breakthrough \u003cem>Beanpole\u003c/em> and Iranian director Taghi Amirani’s obsessively researched documentary \u003cem>Coup 53\u003c/em> (co-written and edited by the peerless Walter Murch).\u003c/p>\n\u003cp>One final paradox that MVFF, or should we say Mill Valley, somehow reconciles is the tug-of-war between summer and fall. The early October sun still burns with force, while the air nips with autumn’s teeth. It’s perfect movie-going weather.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.mvff.com\" rel=\"noopener\" target=\"_blank\">Mill Valley Film Festival\u003c/a>, which opens Thursday, Oct. 3 with the fact-based, racial injustice drama \u003cem>Just Mercy\u003c/em>, smoothly integrates (no pun intended) several paradoxes. For starters, the litany of star-fueled Oscar hopefuls—\u003cem>The Two Popes\u003c/em>, \u003cem>A Hidden Life\u003c/em>, \u003cem>Waves\u003c/em>, \u003cem>Harriet\u003c/em>, \u003cem>Marriage Story\u003c/em>, \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>Frankie\u003c/em>, \u003cem>The Irishman\u003c/em>, \u003cem>The Aeronauts\u003c/em>, \u003cem>The Report\u003c/em> and the closing night films \u003cem>Ford v Ferrari\u003c/em> and \u003cem>Motherless Brooklyn\u003c/em>) comfortably coexists with an even longer list of Bay Area indies (including the world premieres of Rob Nilsson’s \u003cem>Arid Cut\u003c/em> and Jeanne C. Finley’s nonfiction \u003cem>Journeys Behind the Cosmodrome\u003c/em>).\u003c/p>\n\u003cp>Meanwhile, the flash-bulb visits of global stars Laura Dern, Kristin Stewart, Shia LaBeouf, Barbara Rush, Stellan Skarsgard, Olivia Wilde, Robert Pattinson, Lena Olin and Edward Norton somehow won’t overshadow the “Behind the Screens” panels and workshops designed to advise and support aspiring filmmakers. Nor will that glamorous array of couture-clad thespians diminish the impact of the shocking social-justice documentaries that dot the MVFF program.\u003c/p>\n\u003cp>The greatest paradox (or irony?) of MVFF, and pretty much every festival, is that the most provocative and meaningful movies seem to fly under the radar. Israeli filmmaker Nadav Lapid’s Berlinale prizewinner \u003cem>Synonyms\u003c/em> and Bosnian director Ena Sendijarevic’s Rotterdam triumph \u003cem>Take Me Somewhere Nice\u003c/em> highlight this “category,” along with Russian director Kantemir Balagov’s Cannes breakthrough \u003cem>Beanpole\u003c/em> and Iranian director Taghi Amirani’s obsessively researched documentary \u003cem>Coup 53\u003c/em> (co-written and edited by the peerless Walter Murch).\u003c/p>\n\u003cp>One final paradox that MVFF, or should we say Mill Valley, somehow reconciles is the tug-of-war between summer and fall. The early October sun still burns with force, while the air nips with autumn’s teeth. It’s perfect movie-going weather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Since 2015, under the threat of the Taliban, Afghan filmmakers Hassan Fazili and Fatima Hussaini, along with their two young daughters, have been on the run for their lives.\u003c/p>\n\u003cp>The family fled Afghanistan after the extremist group had called for Fazili’s death over a film he’d made about one of its commanders.\u003c/p>\n\u003cp>Even as the refugee family navigates a still-incomplete journey—of death threats, discrimination and paralyzing immigration systems—Fazili and Hussaini turn their cameras on themselves and their daughters.\u003c/p>\n\u003cp>Hundreds of hours of footage that Fazili and his family all shot on their three cell phone cameras emerge as the new documentary, \u003cem>Midnight Traveler\u003c/em>.\u003c/p>\n\u003cp>Although the film has already started to roll out in theaters, their journey isn’t over. The family awaits a pending application to remain in Germany, where they’ve been living since April 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTT-duEoRdc\u003c/p>\n\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\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=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&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>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\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/BTT-duEoRdc'\n title='//www.youtube.com/embed/BTT-duEoRdc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\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=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Renée Zellweger Dazzles In A Go-For-Broke Portrayal Of Judy Garland",
"headTitle": "Renée Zellweger Dazzles In A Go-For-Broke Portrayal Of Judy Garland | KQED",
"content": "\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/iJ4mU3oQW3g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\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/iJ4mU3oQW3g'\n title='//www.youtube.com/embed/iJ4mU3oQW3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "6 1/2 Reasons 'Between Two Ferns: The Movie' Defies The Sketch-Into-Movie Curse",
"headTitle": "6 1/2 Reasons ‘Between Two Ferns: The Movie’ Defies The Sketch-Into-Movie Curse | KQED",
"content": "\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OjljgkCQv5c\u003c/p>\n\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\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=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\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/OjljgkCQv5c'\n title='//www.youtube.com/embed/OjljgkCQv5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\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=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How One Apocalyptic BBC Movie Scarred a Generation of U.K. Schoolchildren",
"headTitle": "How One Apocalyptic BBC Movie Scarred a Generation of U.K. Schoolchildren | KQED",
"content": "\u003cp>Thirty-five years ago this week, the BBC aired \u003ca href=\"https://www.imdb.com/title/tt0090163/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">\u003cem>Threads\u003c/em>\u003c/a>, one of the most searing movies about nuclear war in TV history. The following year, the docu-drama aired on TBS and became, at the time, the most watched basic cable show in America. Today it can be found on dedicated horror streaming channel, Shudder. But back in 1984? It was recorded by teachers across the U.K. and shown to an entire generation of schoolchildren.\u003c/p>\n\u003cp>https://twitter.com/mrjimbecks/status/1176097881331290113\u003c/p>\n\u003cp>https://twitter.com/PublicBenjamin/status/1176209518604296192\u003c/p>\n\u003cp>https://twitter.com/linecon0/status/1176072657391038465\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vgT4Y30DkaA\u003c/p>\n\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=120wGLgCTkg\u003c/p>\n\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\n\u003cp>https://twitter.com/MrJSnod/status/1176138007205863424\u003c/p>\n\u003cp>https://twitter.com/DavidWPoole73/status/1176189847268184069\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/JudasDJs/status/1176069665057071105\u003c/p>\n\n",
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"excerpt": "'Threads' was a 2-hour horror movie that broke down, step-by-step, what happens to people caught up in a nuclear bombing. Teachers promptly showed it to classrooms of young teens. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty-five years ago this week, the BBC aired \u003ca href=\"https://www.imdb.com/title/tt0090163/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">\u003cem>Threads\u003c/em>\u003c/a>, one of the most searing movies about nuclear war in TV history. The following year, the docu-drama aired on TBS and became, at the time, the most watched basic cable show in America. Today it can be found on dedicated horror streaming channel, Shudder. But back in 1984? It was recorded by teachers across the U.K. and shown to an entire generation of schoolchildren.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vgT4Y30DkaA'\n title='//www.youtube.com/embed/vgT4Y30DkaA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\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/120wGLgCTkg'\n title='//www.youtube.com/embed/120wGLgCTkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\u003c/p>\u003c/div>",
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"slug": "the-do-list-listen-to-our-event-picks-for-sept-26-oct-2",
"title": "The Do List: Listen to Our Event Picks for Sept. 26–Oct. 2",
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"headTitle": "The Do List: Listen to Our Event Picks for Sept. 26–Oct. 2 | KQED",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Our picks for the Do List this week include border music documentaries, a hip-hop festival, jazz tributes and more.",
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"title": "The Do List: Listen to Our Event Picks for Sept. 26–Oct. 2 | KQED",
"description": "Our picks for the Do List this week include border music documentaries, a hip-hop festival, jazz tributes and more.",
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"headline": "The Do List: Listen to Our Event Picks for Sept. 26–Oct. 2",
"datePublished": "2019-09-26T06:00:59-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">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>\u003cstrong>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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