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"content": "\u003cp>Last week, the idea that the three-hour epic that was \u003cem>Avengers: Endgame\u003c/em> could be sensibly condensed into less than ten minutes was laughable. As was the idea that a random group of high school students could ever be more committed to cosplay than even the most fervent Comic-Con attendees. That, however, was all before a video of students at Sahuarita, Arizona’s Walden Grove High School got together and put on an elaborate, perfectly choreographed Avengers-themed dance for their Homecoming pep rally.\u003c/p>\n\u003cp>The precision and attention to detail in this thing is so on point, it’s likely to make thousands of people re-think Halloween costume plans and start building a cardboard bus version of the Milano ship from \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCakqDxi56riNcLWnXbOm2KA\" target=\"_blank\" rel=\"noopener\">The Performing Arts Crew Dance Team\u003c/a> that put on the \u003cem>Avengers\u003c/em> routine has a history of greatness when it comes to viral assemblies, having previously garnered millions of views with \u003ca href=\"https://www.youtube.com/watch?v=iSEkI3Urmd4\" target=\"_blank\" rel=\"noopener\">Harry Potter\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KBUnBY2oMWg\" target=\"_blank\" rel=\"noopener\">Pixar\u003c/a>-themed routines. (You may also remember them from \u003ca href=\"https://www.youtube.com/watch?v=IwKxx0tVVv4\" target=\"_blank\" rel=\"noopener\">Season 13 of \u003cem>America’s Got Talent\u003c/em>\u003c/a>.)\u003c/p>\n\u003cp>Turns out, though, nothing screams school spirit quite like a massive dance-fight with Thanos…\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=296&v=Kk9NkwFmDN4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. If they escaped your notice on original release, mark your calendar for \u003cem>Dogtown Redemption\u003c/em> (Sept. 22), \u003cem>Inequality for All\u003c/em> (a free outdoor show on Oct. 10), \u003cem>In the Image: Palestinian Women Capture the Occupation\u003c/em> (Oct. 13), \u003cem>The Whistleblower of My Lai\u003c/em> (Oct. 22) and \u003cem>The Pushouts\u003c/em> (Oct. 27).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>This Ain’t No Mouse Music!\u003c/em> (screening outdoors for free this Thursday, Sept. 12), isn’t what you’d call a political film, exactly. Maureen Gosling and Chris Simon’s exhilarating 2013 profile of self-effacing musicologist and Arhoolie Records founder Chris Strachwitz describes a man whose life work has also been a public service. Strachwitz embodies liberal values—pro-diversity, pro-immigration, pro-tolerance—but it’s hard to imagine anyone finding his example objectionable. To the contrary, \u003cem>This Ain’t No Mouse Music!\u003c/em> is a testament to following your bliss—and to the filmmakers with the determination and creativity to show us how it’s done.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a consensus among critics that the present moment is a “golden age” for documentaries. Theatrical releases are commonplace, to the point that docs are squeezing out foreign-language films. The pervasive home-based platforms (especially Netflix) actively back and promote current-events docs to the masses. On Oscar Night, an ever-increasing chunk of the viewing audience has heard of (if not seen) at least one of the doc nominees.\u003c/p>\n\u003cp>Speaking of viewers, a sizable segment recognizes that broadcast and cable television news divisions have abandoned investigative journalism altogether, and that doc filmmakers are the only ones stepping into the void. A subliminal yet important factor is the way digital tools have enabled consistently excellent production values regardless of budget, subject matter, location and recording conditions.\u003c/p>\n\u003cfigure id=\"attachment_13866066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg\" alt=\"\" width=\"1600\" height=\"800\" class=\"size-full wp-image-13866066\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Field_The-Whistleblower-of-My-Lai_001-1200x600.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">From ‘The Whistleblower of My Lai.’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a rosy picture, all right, expect for one thing: It’s still an arduous undertaking to raise the funds (from foundations, streaming platforms and/or crowd-funding initiatives) to make a documentary. Consider that the bargain-basement budget for the most-constrained one-hour doc is in the neighborhood of $300,000, and you see that the barriers to entry have not fully dissolved.\u003c/p>\n\u003cp>In 2009, some pragmatic yet ambitious folks created the \u003ca href=\"https://berkeleyfilmfoundation.org/\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation\u003c/a> to raise and disburse money to Berkeley, Oakland, Emeryville, El Cerrito, Albany and Richmond filmmakers. (The world-renowned local doc scene has shifted significantly from San Francisco to the East Bay in the last 15 years.) \u003c/p>\n\u003cp>Over the ensuing decade, the BFF has handed out $1.7 million to 150 films, a result worth infinitely more than its weight in gold. What’s extraordinary about the BFF, by the way, is that it’s a public-private partnership between the city of Berkeley and a couple of Berkeley-based entities, the \u003ca href=\"https://www.zaentz.com/\" rel=\"noopener\" target=\"_blank\">Saul Zaentz Company\u003c/a> and \u003ca href=\"http://www.warehamdevelopment.com/\" rel=\"noopener\" target=\"_blank\">Wareham Development\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13866065\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg\" alt=\"Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in 'This Ain't no Mouse Music!'\" width=\"1200\" height=\"762\" class=\"size-full wp-image-13866065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Collaboration_This-Aint-No-Mouse-Music_001_1200-1020x648.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Texas Bluesman Mance Lipscomb and Arhoolie Records founder Chris Strachwitz in ‘This Ain’t no Mouse Music!’ \u003ccite>(Courtesy of the filmmakers and BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://bampfa.org/program/berkeley-film-foundation-celebrating-ten-years-local-filmmaking\" rel=\"noopener\" target=\"_blank\">Berkeley Film Foundation: Celebrating Ten Years of Local Filmmaking\u003c/a>, a BAMPFA retrospective of six powerful recent films screening through Oct. 27, is a pointedly political affair—which is not surprising given the doc community’s venerable social-justice tradition. 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"title": "Constance Wu On Sisterhood, 'Hustlers' and Her Unprecedented Career",
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"content": "\u003cp>When we meet Constance Wu’s character Destiny in the new movie \u003cem>Hustlers\u003c/em>, she’s the new dancer at a gentlemen’s club. She’s there because of economic circumstance, but we come to learn there’s more to her character.\u003c/p>\n\u003cp>“I think the deeper meaning of how she ends up in this job is that I think growing up, she and a lot of American girls are taught that their value and worth lies in their physical beauty and their sexuality,” Wu says. “And then it’s funny, because then when you exploit that value system to try to get by, to pay your rent, then you’re shamed for it. I mean, you think of what a stripper does: They’re using their bodies for entertainment. It’s exactly what an athlete does. But we more harshly judge one and shame one than the other.”\u003c/p>\n\u003cp>The movie, which is inspired by the true story of Jessica Pressler’s \u003cem>New York\u003c/em> magazine story \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html\">“The Hustlers at Scores,”\u003c/a> sees Ramona (Jennifer Lopez) take Destiny under her wing. And when their club’s Wall Street clientele begins to dry up after the financial crisis of 2008, the strip club employees scheme up a way to keep the money coming in.\u003c/p>\n\u003cp>The rest of the cast features some big names (Cardi B, Lizzo) and rising stars (Keke Palmer, Lili Reinhart, Trace Lysette). It’s written and directed by Lorene Scafaria. And for Wu, it’s the latest big role in a career that has recently seen her take star turns in the ABC sitcom \u003cem>Fresh off the Boat\u003c/em> and the blockbuster movie \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>In an interview, Wu talked about what attracted her to the role, working on a female-driven movie, and the state of play for women and people of color in Hollywood today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LUG2U-IxPx0\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why she took the role\u003c/strong>\u003c/p>\n\u003cp>I was actually really seeking a project that was about loneliness. I think a lot of people, they think, “Oh, she must have wanted to do this sexy, cool, fun movie.” But it’s just about a woman who is deeply lonely, because she has abandonment issues because her own mother left her when she was very young; so she has trust issues, so she can’t let anybody in. And Ramona, the character played by Jennifer Lopez, becomes like a mother figure to her. And I chose it because it tackles loneliness, but it sort of gets it on all sides. It’s the beginning of it, and then struggling through it, and then finally not feeling alone in the world, and then when you lose that again. It really was just such a dynamic story arc. …\u003c/p>\n\u003cp>I wasn’t lonely at that period in my life. I was actually doing great. But I do think loneliness is kind of pervasive in America right now—and in a way that we’re not recognizing. I think because politically, we’re so polarized. And also, social media just makes people lonely in a way they don’t realize because they’re still getting some kind of social stimulation—but it’s not tactile. So I think one of the best things that films or stories can do for us is to make people feel less alone with their own feelings. We’re so used to looking at these Instagram feeds where everyone has a perfect life. And what \u003cem>Hustlers\u003c/em> really does is it shows that this woman who, yeah, she looks really flashy, she’s a dancer, all this on the outside; but inside, she’s really lonely and she just wants a real friend. And I think that’s—if we’re going to find any type of healing in this country, it’s going to be by interacting with each other, not villainizing and shaming each other.\u003c/p>\n\u003cp>\u003cstrong>On acting in a movie that doesn’t pit two women against each other\u003c/strong>\u003c/p>\n\u003cp>No catfights. And the thing that I’ve always said is that traditionally, in a patriarchal society, whether it’s in the boardroom or in an action movie, there’s usually only one or two women. And I think that it’s the fact there seem to be so few positions available that makes somebody competitive. It’s the scarcity, not the gender. And I think working on \u003cem>Hustlers\u003c/em> really proved that women are not inherently catty or competitive, because we, on \u003cem>Hustlers\u003c/em>, we were all women: woman director, woman writer. And it was our table, you know? It was not patriarchal—it was matriarchal, I guess. And it was so great because so many times when I’m in an environment that’s a lot of men, I feel like I have to either be cutesy or girly or sexy, or I have to act like I’m one of the guys to fit in. …\u003c/p>\n\u003cp>And so when we were all in locker room scenes of \u003cem>Hustlers\u003c/em>—all women, all shapes and sizes, all different ages, all ethnicities—nobody had to pretend like they were one of the guys. We didn’t have to act really sexy. We could openly talk about, like, “Ugh, this boob is bigger than the other,” whatever. Just these things that we could just be open about, because we weren’t being assessed by our appearance in order to be allowed in the space—because it was our space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b6ZeMzDDlfo\u003c/p>\n\u003cp>\u003cstrong>On how her personal background affects her portrayal and career\u003c/strong>\u003c/p>\n\u003cp>I didn’t work in strip clubs back then, but I worked in restaurants a lot. I did bottle service for a club for a little bit. But yeah, I definitely related to the struggle that comes along, and the fear and scarcity complexes that come along, with not having a legacy in the place you grew up. Not growing up with privilege, but also just—there’s a psychological legacy that comes from knowing that you have ancestors, great-great-great-grandparents, who have been in this country and are of this country and have survived. I think it’s statistically proven that like if a kid has a parent who has gone to college, they’re more likely to go to college … I’ve said representation equals possibility, and sometimes the parents model that behavior.\u003c/p>\n\u003cp>But for me, I don’t have anybody in my family who ever entered show biz or the arts. And the path that I’ve sort of made for myself in this career is also something I haven’t really seen a model for, in terms of a role model for, exactly the way I’ve been trying to do it. So it can be scary, and it can ruffle feathers for sure. And I think that Destiny also doesn’t have the confidence of a legacy of lineage in the country, because her parents are immigrants, like mine were.\u003c/p>\n\u003cp>\u003cstrong>On living in the moment\u003c/strong>\u003c/p>\n\u003cp>I mean, I do this [acting] because I love it. … I think one of the best things an actor can have is sort of what they call being in the moment, which I naturally have—which is not always a good thing. So I think the reason I stayed in it is because I wasn’t thinking about the future. Because if I had systemically laid out all the possibilities and thought of the future, I don’t think I ever would have entered this profession at all.\u003c/p>\n\u003cp>And so to really live in the moment and not measure your words or actions based on anxieties of the future or worries of the past is a real fun gift to have when you’re acting. In life it has not always been so fun, because I can be really reactive and dramatic. So I’m just trying to honestly use this moment in this profession to learn more about myself and the kind of person I want to be and to forgive myself for mistakes.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://deadline.com/2019/05/constance-wu-fresh-off-the-boat-abc-renewal-twitter-profanity-1202612321/\">\u003cstrong>her recent response\u003c/strong>\u003c/a>\u003cstrong> to \u003c/strong>\u003cstrong>\u003cem>Fresh off the Boat \u003c/em>\u003c/strong>\u003cstrong>being renewed for another season, which was initially judged out of context, she says\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> It really broke my heart that my moment of heat, where I was just disappointed because I couldn’t do a play that I really wanted to do, that had an impact on the people who I love on this crew, and how some people might have perceived that it was a reflection of how I felt about the show. Which: nothing could be further from the truth, because I love the show and I love the people on it. I was just temporarily … I was just bummed because I’d been looking forward to doing this other project.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Do you think you got more of it because you’re a woman and a person of color?\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> What do you think? [laughing]\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> I don’t know. I thought I would ask the question and just put it there out there.\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> Yeah. I definitely think that there’s often harsher criticism … I think it was especially disturbing for some people because my career is kind of unprecedented. You know, I led the first Asian American network sitcom in Hollywood in over 20 years [\u003cem>Fresh off the Boat\u003c/em>], and then five years later I led the first all-Asian cast of a major studio Hollywood movie in 25 years [\u003cem>Crazy Rich Asians\u003c/em>]. But it’s funny—it’s like because I’ve gotten this position that wasn’t available at the table, I should never complain. …\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZQ-YX-5bAs0\u003c/p>\n\u003cp>I think a part of us should stop being grateful for scraps from the table and demand the whole table. Because it shouldn’t have been history that I was the first in that TV show or movie. It shouldn’t be historic that Hollywood made a story that gives an Asian American a full human experience. That should be regular.\u003c/p>\n\u003cp>\u003cstrong>On if Hollywood is trending in the right direction regarding women and people of color\u003c/strong>\u003c/p>\n\u003cp>I always compare it to exercising. It’s not like you can take one boot camp and then be fit for life. It’s a maintenance. So I think that we’ve gone through a bit of a boot camp in terms of understanding bias and institutional racism and stuff like that … and I think now you have to take the exercises you learned from boot camp, and apply them to your real choices in a way that makes you and everybody healthier.\u003c/p>\n\u003cp>I mean, it’s funny. I actually know a lot of guys who have been saying, like, “Oh, you know, it’s a great time in Hollywood for women.” And you know, male directors will say, like, “Oh, it’s really great to be a woman right now … I used to get all these jobs, and I can’t—it’s great, I’m glad” …\u003c/p>\n\u003cp>And there are many things to say to that. But one thing I would have liked to say is that it’s a great time for men. Because I think men are finally getting to hear these stories that they’ve been robbed of—these stories told from a woman’s point of view. And if you’re an artist, there’s nothing you want more than learning more about the human experience. So if you get to learn a perspective that you didn’t get growing up, how awesome. How awesome that you get that. But if you’re only worrying about me and my experience and what jobs I get, then: Well, there’s the problem. It’s like: The world is not centered in your experience. And the more experiences you get that are outside of your own are gonna improve your work. And then that will improve your integrity. And so I think it’s a great time for men because they have the opportunity to see and experience this content that they haven’t before.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Melissa Gray produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lonely+In+The+Club%3A+Constance+Wu+On+%27Hustlers%27+And+Her+%27Unprecedented%27+Career&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When we meet Constance Wu’s character Destiny in the new movie \u003cem>Hustlers\u003c/em>, she’s the new dancer at a gentlemen’s club. She’s there because of economic circumstance, but we come to learn there’s more to her character.\u003c/p>\n\u003cp>“I think the deeper meaning of how she ends up in this job is that I think growing up, she and a lot of American girls are taught that their value and worth lies in their physical beauty and their sexuality,” Wu says. “And then it’s funny, because then when you exploit that value system to try to get by, to pay your rent, then you’re shamed for it. I mean, you think of what a stripper does: They’re using their bodies for entertainment. It’s exactly what an athlete does. But we more harshly judge one and shame one than the other.”\u003c/p>\n\u003cp>The movie, which is inspired by the true story of Jessica Pressler’s \u003cem>New York\u003c/em> magazine story \u003ca href=\"https://www.thecut.com/2015/12/robin-hood-strippers-scores-c-v-r.html\">“The Hustlers at Scores,”\u003c/a> sees Ramona (Jennifer Lopez) take Destiny under her wing. And when their club’s Wall Street clientele begins to dry up after the financial crisis of 2008, the strip club employees scheme up a way to keep the money coming in.\u003c/p>\n\u003cp>The rest of the cast features some big names (Cardi B, Lizzo) and rising stars (Keke Palmer, Lili Reinhart, Trace Lysette). It’s written and directed by Lorene Scafaria. And for Wu, it’s the latest big role in a career that has recently seen her take star turns in the ABC sitcom \u003cem>Fresh off the Boat\u003c/em> and the blockbuster movie \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>In an interview, Wu talked about what attracted her to the role, working on a female-driven movie, and the state of play for women and people of color in Hollywood today.\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/LUG2U-IxPx0'\n title='//www.youtube.com/embed/LUG2U-IxPx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why she took the role\u003c/strong>\u003c/p>\n\u003cp>I was actually really seeking a project that was about loneliness. I think a lot of people, they think, “Oh, she must have wanted to do this sexy, cool, fun movie.” But it’s just about a woman who is deeply lonely, because she has abandonment issues because her own mother left her when she was very young; so she has trust issues, so she can’t let anybody in. And Ramona, the character played by Jennifer Lopez, becomes like a mother figure to her. And I chose it because it tackles loneliness, but it sort of gets it on all sides. It’s the beginning of it, and then struggling through it, and then finally not feeling alone in the world, and then when you lose that again. It really was just such a dynamic story arc. …\u003c/p>\n\u003cp>I wasn’t lonely at that period in my life. I was actually doing great. But I do think loneliness is kind of pervasive in America right now—and in a way that we’re not recognizing. I think because politically, we’re so polarized. And also, social media just makes people lonely in a way they don’t realize because they’re still getting some kind of social stimulation—but it’s not tactile. So I think one of the best things that films or stories can do for us is to make people feel less alone with their own feelings. We’re so used to looking at these Instagram feeds where everyone has a perfect life. And what \u003cem>Hustlers\u003c/em> really does is it shows that this woman who, yeah, she looks really flashy, she’s a dancer, all this on the outside; but inside, she’s really lonely and she just wants a real friend. And I think that’s—if we’re going to find any type of healing in this country, it’s going to be by interacting with each other, not villainizing and shaming each other.\u003c/p>\n\u003cp>\u003cstrong>On acting in a movie that doesn’t pit two women against each other\u003c/strong>\u003c/p>\n\u003cp>No catfights. And the thing that I’ve always said is that traditionally, in a patriarchal society, whether it’s in the boardroom or in an action movie, there’s usually only one or two women. And I think that it’s the fact there seem to be so few positions available that makes somebody competitive. It’s the scarcity, not the gender. And I think working on \u003cem>Hustlers\u003c/em> really proved that women are not inherently catty or competitive, because we, on \u003cem>Hustlers\u003c/em>, we were all women: woman director, woman writer. And it was our table, you know? It was not patriarchal—it was matriarchal, I guess. And it was so great because so many times when I’m in an environment that’s a lot of men, I feel like I have to either be cutesy or girly or sexy, or I have to act like I’m one of the guys to fit in. …\u003c/p>\n\u003cp>And so when we were all in locker room scenes of \u003cem>Hustlers\u003c/em>—all women, all shapes and sizes, all different ages, all ethnicities—nobody had to pretend like they were one of the guys. We didn’t have to act really sexy. We could openly talk about, like, “Ugh, this boob is bigger than the other,” whatever. Just these things that we could just be open about, because we weren’t being assessed by our appearance in order to be allowed in the space—because it was our space.\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/b6ZeMzDDlfo'\n title='//www.youtube.com/embed/b6ZeMzDDlfo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On how her personal background affects her portrayal and career\u003c/strong>\u003c/p>\n\u003cp>I didn’t work in strip clubs back then, but I worked in restaurants a lot. I did bottle service for a club for a little bit. But yeah, I definitely related to the struggle that comes along, and the fear and scarcity complexes that come along, with not having a legacy in the place you grew up. Not growing up with privilege, but also just—there’s a psychological legacy that comes from knowing that you have ancestors, great-great-great-grandparents, who have been in this country and are of this country and have survived. I think it’s statistically proven that like if a kid has a parent who has gone to college, they’re more likely to go to college … I’ve said representation equals possibility, and sometimes the parents model that behavior.\u003c/p>\n\u003cp>But for me, I don’t have anybody in my family who ever entered show biz or the arts. And the path that I’ve sort of made for myself in this career is also something I haven’t really seen a model for, in terms of a role model for, exactly the way I’ve been trying to do it. So it can be scary, and it can ruffle feathers for sure. And I think that Destiny also doesn’t have the confidence of a legacy of lineage in the country, because her parents are immigrants, like mine were.\u003c/p>\n\u003cp>\u003cstrong>On living in the moment\u003c/strong>\u003c/p>\n\u003cp>I mean, I do this [acting] because I love it. … I think one of the best things an actor can have is sort of what they call being in the moment, which I naturally have—which is not always a good thing. So I think the reason I stayed in it is because I wasn’t thinking about the future. Because if I had systemically laid out all the possibilities and thought of the future, I don’t think I ever would have entered this profession at all.\u003c/p>\n\u003cp>And so to really live in the moment and not measure your words or actions based on anxieties of the future or worries of the past is a real fun gift to have when you’re acting. In life it has not always been so fun, because I can be really reactive and dramatic. So I’m just trying to honestly use this moment in this profession to learn more about myself and the kind of person I want to be and to forgive myself for mistakes.\u003c/p>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://deadline.com/2019/05/constance-wu-fresh-off-the-boat-abc-renewal-twitter-profanity-1202612321/\">\u003cstrong>her recent response\u003c/strong>\u003c/a>\u003cstrong> to \u003c/strong>\u003cstrong>\u003cem>Fresh off the Boat \u003c/em>\u003c/strong>\u003cstrong>being renewed for another season, which was initially judged out of context, she says\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> It really broke my heart that my moment of heat, where I was just disappointed because I couldn’t do a play that I really wanted to do, that had an impact on the people who I love on this crew, and how some people might have perceived that it was a reflection of how I felt about the show. Which: nothing could be further from the truth, because I love the show and I love the people on it. I was just temporarily … I was just bummed because I’d been looking forward to doing this other project.\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> Do you think you got more of it because you’re a woman and a person of color?\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> What do you think? [laughing]\u003c/p>\n\u003cp>\u003cstrong>Garcia-Navarro:\u003c/strong> I don’t know. I thought I would ask the question and just put it there out there.\u003c/p>\n\u003cp>\u003cstrong>Wu:\u003c/strong> Yeah. I definitely think that there’s often harsher criticism … I think it was especially disturbing for some people because my career is kind of unprecedented. You know, I led the first Asian American network sitcom in Hollywood in over 20 years [\u003cem>Fresh off the Boat\u003c/em>], and then five years later I led the first all-Asian cast of a major studio Hollywood movie in 25 years [\u003cem>Crazy Rich Asians\u003c/em>]. But it’s funny—it’s like because I’ve gotten this position that wasn’t available at the table, I should never complain. …\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/ZQ-YX-5bAs0'\n title='//www.youtube.com/embed/ZQ-YX-5bAs0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think a part of us should stop being grateful for scraps from the table and demand the whole table. Because it shouldn’t have been history that I was the first in that TV show or movie. It shouldn’t be historic that Hollywood made a story that gives an Asian American a full human experience. That should be regular.\u003c/p>\n\u003cp>\u003cstrong>On if Hollywood is trending in the right direction regarding women and people of color\u003c/strong>\u003c/p>\n\u003cp>I always compare it to exercising. It’s not like you can take one boot camp and then be fit for life. It’s a maintenance. So I think that we’ve gone through a bit of a boot camp in terms of understanding bias and institutional racism and stuff like that … and I think now you have to take the exercises you learned from boot camp, and apply them to your real choices in a way that makes you and everybody healthier.\u003c/p>\n\u003cp>I mean, it’s funny. I actually know a lot of guys who have been saying, like, “Oh, you know, it’s a great time in Hollywood for women.” And you know, male directors will say, like, “Oh, it’s really great to be a woman right now … I used to get all these jobs, and I can’t—it’s great, I’m glad” …\u003c/p>\n\u003cp>And there are many things to say to that. But one thing I would have liked to say is that it’s a great time for men. Because I think men are finally getting to hear these stories that they’ve been robbed of—these stories told from a woman’s point of view. And if you’re an artist, there’s nothing you want more than learning more about the human experience. So if you get to learn a perspective that you didn’t get growing up, how awesome. How awesome that you get that. But if you’re only worrying about me and my experience and what jobs I get, then: Well, there’s the problem. It’s like: The world is not centered in your experience. And the more experiences you get that are outside of your own are gonna improve your work. And then that will improve your integrity. And so I think it’s a great time for men because they have the opportunity to see and experience this content that they haven’t before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>’Tis the season when we wave goodbye to splashy summer frolics and dive headlong into the serious work (and art) of fall. Back to the grind, as it were. But what’s the rush? Let’s extend our escape just a few more days, until the \u003ca href=\"https://drafthouse.com/sf/show/the-5000-fingers-of-dr.-t-cereal-party-presented-with-media-meltdown\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a> “cereal breakfast” screening of \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> on Saturday, Sept. 7 at noon.\u003c/p>\n\u003cp>Penned by Theodor Geisel, a.k.a. Dr. Seuss, and produced by earnest Hollywood heavyweight Stanley Kramer, \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> (1953) is one of the strangest collaborations in the checkered history of the studio system. A live-action musical parable about control and conformity with fantastical sets and costumes (check out the trailer below), it was allegedly made for children, but truly intended for adults.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dgpfMxYFSmE\u003c/p>\n\u003cp>The heart of this fractured fairy tale is piano practice, a socially acceptable form of daily childhood imprisonment that swaths of the upwardly mobile American middle class adopted in the 1950s. Multiply this sadistic practice by 500 children, grinding away at a humongous piano under the “direction” of the supervillainous Dr. Terwilliker (Hans Conried), and you have the stuff that nightmares are made of.\u003c/p>\n\u003cp>Indeed, there are grown men and women walking the streets and malls at this very moment who can recall the trauma of seeing Dr. Seuss’ ostensibly benign children’s movie. If that isn’t a movie recommendation you can trust, I don’t know what to tell you.\u003c/p>\n\u003cp>Seriously, if you’re a parent who’s saturated your child with \u003cem>Star Wars\u003c/em> and Disney films, take a deep breath. How does that constitute a normal childhood? Plant a little—OK, a lot of—weirdness in your offspring’s imagination, courtesy of Dr. Seuss and Drafthouse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>’Tis the season when we wave goodbye to splashy summer frolics and dive headlong into the serious work (and art) of fall. Back to the grind, as it were. But what’s the rush? Let’s extend our escape just a few more days, until the \u003ca href=\"https://drafthouse.com/sf/show/the-5000-fingers-of-dr.-t-cereal-party-presented-with-media-meltdown\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a> “cereal breakfast” screening of \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> on Saturday, Sept. 7 at noon.\u003c/p>\n\u003cp>Penned by Theodor Geisel, a.k.a. Dr. Seuss, and produced by earnest Hollywood heavyweight Stanley Kramer, \u003cem>The 5,000 Fingers of Dr. T.\u003c/em> (1953) is one of the strangest collaborations in the checkered history of the studio system. A live-action musical parable about control and conformity with fantastical sets and costumes (check out the trailer below), it was allegedly made for children, but truly intended for adults.\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/dgpfMxYFSmE'\n title='//www.youtube.com/embed/dgpfMxYFSmE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The heart of this fractured fairy tale is piano practice, a socially acceptable form of daily childhood imprisonment that swaths of the upwardly mobile American middle class adopted in the 1950s. Multiply this sadistic practice by 500 children, grinding away at a humongous piano under the “direction” of the supervillainous Dr. Terwilliker (Hans Conried), and you have the stuff that nightmares are made of.\u003c/p>\n\u003cp>Indeed, there are grown men and women walking the streets and malls at this very moment who can recall the trauma of seeing Dr. Seuss’ ostensibly benign children’s movie. If that isn’t a movie recommendation you can trust, I don’t know what to tell you.\u003c/p>\n\u003cp>Seriously, if you’re a parent who’s saturated your child with \u003cem>Star Wars\u003c/em> and Disney films, take a deep breath. How does that constitute a normal childhood? Plant a little—OK, a lot of—weirdness in your offspring’s imagination, courtesy of Dr. Seuss and Drafthouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\u003c/p>\n\u003cp>https://youtu.be/YRS6V8RXIKE\u003c/p>\n\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Halfway through the miserable psychodrama \u003cem>The Fanatic\u003c/em>, Dick (Kenneth Farmer, playing a minor character with only a few lines), asks a couple of aggressive panhandlers to stop harassing his buddy Moose (John Travolta): “Why can’t you leave this guy alone, huh?” You won’t find any good answers in the movie, an ugly character study about Moose, an emotionally unstable cinephile who stalks Hunter Dunbar (Devon Sawa), his favorite horror movie star. \u003c/p>\n\u003cp>Moose is such an underdeveloped character that one can’t help but wonder why co-writer/director Fred Durst (lead singer of the Nu-Metal group Limp Bizkit)\u003cstrong>, \u003c/strong>can’t stop picking on Travolta’s character, though \u003cem>The Fanatic\u003c/em> is supposedly based (in part) on Durst’s real-life encounters with a starstruck harasser. (Durst shares screenplay credit with Dave Bekerman.)\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/YRS6V8RXIKE'\n title='//www.youtube.com/embed/YRS6V8RXIKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s nothing sympathetic about Moose, a petulant fanboy who’s defined by his childlike accessories — Hawaiian shirts, a backpack, and a haircut that’s halfway between a bowl cut and a mullet, hunched shoulders, constipated waddle, and emotional volatility. Moose repeatedly tries to befriend Hunter, an ungenerous, but understandably vexed B-lister, after the actor leaves a book signing before he can sign Moose’s memorabilia. \u003c/p>\n\u003cp>Some cliché-filled voiceover narration, provided by Moose’s celeb-hating/chasing paparazzo friend Leah (Ana Golja), ties Moose and Hunter together, but always in a way that suggests Hunter deserves whatever’s coming to him, like when she mysteriously suggests that while, “I have no idea why Moose would go back to that man’s house. But I suppose when you find the cookie jar, it’s hard to not go back for more.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still: There’s nothing to Moose beyond some general commentary about how fans are entitled bullies, a proposition that’s literally spelled out, onscreen, in an introductory quote from Hunter (which he repeats later in the movie, only this time the line occurs as dialogue that Moose forces Hunter to say): “You are a fan. Without you I’m nothing.” \u003c/p>\n\u003cp>Moose’s behavior suggests that he’s mentally unstable, but the film never explicitly suggests that he’s psychologically impaired. Instead, Moose runs around doing whatever he wants, busking on Hollywood Boulevard (dressed as a British bobby, with a truly regrettable accent and fake mustache) and stalking Hunter at his home. Moose is also frequently picked on by fellow street performer Todd (Jacob Grodnik), but that doesn’t slow Moose down anymore than do Leah’s admonishments to stop stalking Hunter. \u003c/p>\n\u003cp>Durst fixates on Moose’s freakish behavior to the same unhealthy degree that Moose tries to impress Hunter. This is disappointing since Durst—who directed almost two dozen music videos before helming two sturdy enough features (\u003ci>The Education of Charlie Banks\u003c/i>, \u003ci>The Longshots\u003c/i>)—isn’t as amateurish a story-teller as \u003cem>The Fanatic\u003c/em> would attest. Still, \u003cem>The Fanatic\u003c/em> stinks because Durst doesn’t really care about whatever it is that’s motivating Moose. He’s violent and movie-obsessed, but viewers barely see what Hunter’s movies are like, or what Moose likes about them. Moose’s friends prove equally hard to read: Leah and Dick never register strongly enough as characters to provide Travolta’s character any useful, normalizing context.\u003c/p>\n\u003cp>Instead, we get a bunch of scenes where Travolta zealously overacts, as when he screams at Hunter, “I wish Freddy Krueger would come, and chop off your head, and it would roll in the street, and a truck would squish it, and the blood would splatter everywhere, and everyone would watch it.” Durst sometimes seems to pity Moose, as when he underscores, with a dramatic musical sting, his emotional devastation when Hunter pokes his chest with a marker and angrily signs his name on his shirt. But Travolta’s performance, like his twitchy character, isn’t even desperate in a cruelly amusing way: When he inevitably manages to get Hunter where he wants him, Moose tries to win over his captive audience by crudely imitating movie baddies from \u003cem>Friday the 13\u003c/em>\u003cem>\u003csup>th\u003c/sup>\u003c/em>, \u003cem>Saw\u003c/em> and \u003cem>Reservoir Dogs\u003c/em>, as if we needed reminding that this character knows more about movies than reality.\u003c/p>\n\u003cp>The same could be said about Durst and \u003cem>The Fanatic\u003c/em>: He consistently punches down at fans who, in the relatively innocent days of the late 90s and early 00s, might have been encouraged by Durst’s band when they sang about “my generation” and doing things “my way,” not to mention feeling misunderstood “behind blue eyes,” and “[doing] it all for the nookie.” \u003c/p>\n\u003cp>Instead, Durst now refers us to “The Truth”—Limp Bizkit’s 2005 rallying cry about “accepting the truth” and rejecting a vaguely menacing father figure—in a brief scene where Hunter and his son bond over Durst’s mediocre metal music. Unfortunately, \u003cem>The Fanatic \u003c/em>proves just as opaque as that song’s lyrics: “Somehow, you replaced all your game with a debt, now the payback’s a bitch/Why owe your life to a bitch?” \u003c/p>\n\u003cp>Hunter, in this example, is presumably the “bitch” that leads Moose astray, but nothing he does makes their fallen idol/clueless stalker power dynamic any more concrete and apprehendable. Moose’s addiction to social media serves him poorly, his fair-weather friends treat him abominably, but in the end, nothing regards him with more cruel indifference than the film itself. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Jodorowsky’s Dune’\u003c/strong>: You may be familiar with David Lynch’s 1984 adaptation of the epic Frank Herbert sci-fi, starring Kyle MacLaughlan and Sting. You may \u003cem>also\u003c/em> know that director Denis Villeneuve is working on his own \u003cem>Dune\u003c/em> for 2020. But before both of these, there was another \u003cem>Dune\u003c/em> that never got made, a visionary film by Chilean director Alejandro Jodorowsky. When he started working on it in 1974, it was going to star Orson Welles, Mick Jagger, David Carradine and even the artist Salvador Dalí, and he commissioned designs from artists like H.R. Giger and Jean Giraud. In this documentary, Jodorowsky gets to describe the film that could have been, as well as its influences on so many movies that followed. It screens Friday, Aug. 30, at the New Parkway in Oakland. \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>: Nina Sky headline this year’s Sonido Clash music festival in San Jose, a day-long celebration with two dozen buzzed-about indie and alternative Latino artists—the type of acts you’re likely to see on NPR’s Tiny Desk in a year or two. Katzu Oso, Ms. Nina, Reyna Tropical and a ton more play in the cozy courtyard setting, at the School of Arts and Culture at the Mexican Heritage Plaza, in San Jose. It’s on Sunday, Sept. 1. \u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Life is hard, and then you drive. Harried Milwaukee paratransit driver Vic can’t say no to anybody, which makes him an empathetic caregiver and also perennially and perpetually late. Vic (played by newcomer Chris Galust, who sounds and looks like Casey Affleck, only likable) is the hub and the heart of \u003cem>Give Me Liberty\u003c/em>, a wonderfully chaotic seriocomedy from America’s depressed heartland playing the \u003ca href=\"https://www.roxie.com/ai1ec_event/give-me-liberty/?instance_id=35907\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> for a week starting this Friday, Aug. 30.\u003c/p>\n\u003cp>Vic is behind schedule almost immediately, thanks to his Russian grandfather’s sluggishness and stubbornness. Yet he agrees to drive a group of Russian Jews to a funeral, an errand which turns into a four-lane clusterfudge of detours, mix-ups and cross-cultural bonding, the latter at a facility for differently abled people where one of Vic’s scheduled passengers is slated to sing “Rock Around the Clock” at a talent show. (The movie’s musical palette also encompasses a wealth of accordion and a poignant passage or two from John Lee Hooker.)\u003c/p>\n\u003cfigure id=\"attachment_13864862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13864862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-1020x622.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another regular rider, a sharply intelligent young woman with ALS named Tracy, gives Vic (and the movie) access to the dynamics of a multi-generational black family. While Vic holds the movie’s big-hearted center, Dima (Maksim Stoyanov) is its full-tilt motor. A fast-talking Russian who claims to be the deceased’s nephew, Dima charms and schemes himself, Vic and the 10-year-old Dodge van through a day crammed with incident and interaction. \u003c/p>\n\u003cp>A crime-free cousin of the Safdie brothers’ frenetic 2017 romp \u003cem>Good Time\u003c/em>, \u003cem>Give Me Liberty\u003c/em> revels in the gray streets and prosaic homes—and the vibrant people relegated to solitary, interior worlds by circumstance and/or disability—invisible to most moviemakers. Inspired by his own experience, writer-director Kirill Mikhanovsky, working with writer-producer Alice Austen and a cast of nonprofessionals, achieves something far greater, though, than a slice of gritty, messy, dogged Midwestern life.\u003c/p>\n\u003cfigure id=\"attachment_13864864\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13864864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Give Me Liberty\u003c/em> is an affirmation of foundational American ideals, particularly a responsibility to other people that supersedes one’s own needs. Vic embodies this ethos, but it’s all around him, manifested at one time or another by nearly every character in the film. The characters in this mad mosaic are striving for independence, yet they all accept that the quickest route involves cooperation, not selfishness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Righteously generous without being moralizing or politically correct, \u003cem>Give Me Liberty\u003c/em> shines a slim ray of light on the contemporary landscape. With Vic behind the wheel, it’s enough to navigate by. And for tramps like us, that might just be the best we can hope for in 2019.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Life is hard, and then you drive. Harried Milwaukee paratransit driver Vic can’t say no to anybody, which makes him an empathetic caregiver and also perennially and perpetually late. Vic (played by newcomer Chris Galust, who sounds and looks like Casey Affleck, only likable) is the hub and the heart of \u003cem>Give Me Liberty\u003c/em>, a wonderfully chaotic seriocomedy from America’s depressed heartland playing the \u003ca href=\"https://www.roxie.com/ai1ec_event/give-me-liberty/?instance_id=35907\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a> for a week starting this Friday, Aug. 30.\u003c/p>\n\u003cp>Vic is behind schedule almost immediately, thanks to his Russian grandfather’s sluggishness and stubbornness. Yet he agrees to drive a group of Russian Jews to a funeral, an errand which turns into a four-lane clusterfudge of detours, mix-ups and cross-cultural bonding, the latter at a facility for differently abled people where one of Vic’s scheduled passengers is slated to sing “Rock Around the Clock” at a talent show. (The movie’s musical palette also encompasses a wealth of accordion and a poignant passage or two from John Lee Hooker.)\u003c/p>\n\u003cfigure id=\"attachment_13864862\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1200\" height=\"732\" class=\"size-full wp-image-13864862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_4_1200-1020x622.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another regular rider, a sharply intelligent young woman with ALS named Tracy, gives Vic (and the movie) access to the dynamics of a multi-generational black family. While Vic holds the movie’s big-hearted center, Dima (Maksim Stoyanov) is its full-tilt motor. A fast-talking Russian who claims to be the deceased’s nephew, Dima charms and schemes himself, Vic and the 10-year-old Dodge van through a day crammed with incident and interaction. \u003c/p>\n\u003cp>A crime-free cousin of the Safdie brothers’ frenetic 2017 romp \u003cem>Good Time\u003c/em>, \u003cem>Give Me Liberty\u003c/em> revels in the gray streets and prosaic homes—and the vibrant people relegated to solitary, interior worlds by circumstance and/or disability—invisible to most moviemakers. Inspired by his own experience, writer-director Kirill Mikhanovsky, working with writer-producer Alice Austen and a cast of nonprofessionals, achieves something far greater, though, than a slice of gritty, messy, dogged Midwestern life.\u003c/p>\n\u003cfigure id=\"attachment_13864864\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg\" alt=\"Still from 'Give Me Liberty.'\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13864864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GML_1_web-1-768x512.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Give Me Liberty.’ \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Give Me Liberty\u003c/em> is an affirmation of foundational American ideals, particularly a responsibility to other people that supersedes one’s own needs. Vic embodies this ethos, but it’s all around him, manifested at one time or another by nearly every character in the film. The characters in this mad mosaic are striving for independence, yet they all accept that the quickest route involves cooperation, not selfishness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Latinos make up 18% of the U.S. population and 24% of its frequent moviegoers, yet they rarely see themselves on movie screens.\u003c/p>\n\u003cp>A new study by the USC Annenberg Inclusion Initiative finds that Latino representation in film lags significantly behind the U.S. population and that, over the last decade, the number of Latino characters in the most popular movies is virtually unchanged.\u003c/p>\n\u003cp>The report, released Monday and conducted in partnership with the National Association of Latino Independent Producers (NALIP) and Wise Entertainment, analyzed the 1,200 top-grossing films from 2007 to 2018 and some 47,268 speaking or named characters. It found that in that 12-year period, 4.5% of all speaking or named characters were Latino, and just 3% of leads or co-leads.\u003c/p>\n\u003cp>Over that time, the rate of representation has hovered between 3-6%, researchers found. In, 2018, there were Latino speaking characters in 5% of the most popular films — the same rate as in 2008.\u003c/p>\n\u003cp>[aside tag='latinx,latino,bilingual' label='More Stories For You']\u003c/p>\n\u003cp>Inclusion Initiative founder and director Stacy L. Smith, who co-authored the study, said that in all areas of film, Latino are “vastly underrepresented.”\u003c/p>\n\u003cp>“At a time where Latinos in our country are facing intense concerns over their safety, we urgently need to see the Latino community authentically and accurately represented throughout entertainment,” Smith said in a statement.\u003c/p>\n\u003cp>Researchers found that in the films studied, 4% had a Latino director, and most of those filmmakers — 71% — were from outside the U.S. Out of the 1,335 directors, only one was a Latina. Among producers, just 3% were Latino.\u003c/p>\n\u003cp>The study also found that Latinos, when they are on screen, frequently appear in stereotyped roles. In the most popular films at the U.S. box office, Latinos are depicted as criminals 24% of the time; 17% were portrayed as poor or with a low income.\u003c/p>\n\u003cp>“The Latino community has not been prioritized, and it is imperative that we shed light on the glaring reality of Latino representation in film,” said Benjamin Lopez, executive director of NALIP.\u003c/p>\n\u003cp>The results of the study, while hardly surprising, are particularly striking considering what avid moviegoers Latinos generally are. The MPAA has said that 24% of frequent moviegoers — those who go to the movies at least once a month — are Latino. No other ethnic demographic is more overrepresented among moviegoers.\u003c/p>\n\u003cp>The disparity is even more glaring considering that the movie business is centered in Los Angeles, where Latinos make up 49% of the population.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>If you are heading to the movies to see \u003cem>The Angry Birds Movie 2,\u003c/em> then you are in for a double treat. Playing before that feature is an animated short called \u003cem>Hair Love.\u003c/em>\u003c/p>\n\u003cp>Conceived and directed by Matthew Cherry, it follows the story of an African American father — Stephen — and his daughter, Zuri. Stephen is trying to learn how to do young Zuri’s glorious natural hair, and, well, it’s not so easy.\u003c/p>\n\u003cp>To help fund the project, Cherry went to Kickstarter and began a campaign as he previously did for his two indie films. He says these campaigns aren’t just about financing the projects but also about building a fan base and allowing “people who may want to be involved or kind of see the project through to help out.”\u003c/p>\n\u003cp>As audiences have been introduced to Zuri and Stephen, they’ve seen the father’s struggle in trying to groom his daughter’s hair and have been able to relate. Cherry says one of the biggest things he has heard in response from those who have seen the short is about the representation it provides.\u003c/p>\n\u003cp>https://youtu.be/qI7Jla3UgSE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the terrifically smart and genuinely inspiring comedy \u003cem>Brittany Runs a Marathon,\u003c/em> Jillian Bell stars as Brittany, a 27-year-old New Yorker who decides to turn her life around. When we first meet Brittany, she has a dead-end job at a small theater and spends most of her nights out drinking and partying with friends. She gets in shape, takes up long-distance running and decides to give the \u003ca href=\"https://www.npr.org/tags/164212789/new-york-city-marathon\">New York City Marathon\u003c/a> a try. The title more or less gives away the entire plot, which just goes to show that unpredictability can be overrated. Even a formulaic crowd-pleaser can be hard to resist if the formula is this well executed.\u003c/p>\n\u003cp>You know the movie will end with Brittany crossing the finish line, but the point is the journey, the long, agonizing buildup to the race. The writer-director Paul Downs Colaizzo drew the story from a close friend’s experience, and he confronts issues of weight, body image and physical and mental health with a boldness that’s rare in mainstream comedy.\u003c/p>\n\u003cp>One day Brittany visits a doctor hoping to procure some \u003ca href=\"https://www.npr.org/2018/03/15/594009472/a-new-documentary-about-adults-on-adderall-and-not-just-for-adhd\">Adderall \u003c/a>for recreational use. The doctor refuses and instead gives Brittany a diagnosis: Because she weighs 190 pounds and already has high blood pressure and an elevated heart rate, she’s in danger of health risks down the road. Brittany, with typical good humor, needles the doctor for fat-shaming her, but he replies that he just wants her to be healthy and advises her to start eating better and exercising.\u003c/p>\n\u003cp>Brittany takes his words to heart, but it isn’t easy to turn over a new leaf. She swings by her local gym, where she considers—and then quickly rejects—the idea of signing up for an expensive membership. Instead she starts running on her own, and though she’s left panting after just one block, she decides to stick with it. Her cranky neighbor, Catherine (Michaela Watkins), extends an olive branch and invites her to join a running group. They befriend a third runner, Seth (Micah Stock), who’s as much of a fitness novice as Brittany is.\u003c/p>\n\u003cp>Slowly but surely, everyone starts to improve. Brittany runs longer and longer distances and sheds several pounds in the process. She enjoys her boost in confidence and starts making new friends, lands a better-paying job and even rejoins the dating scene she’d given up on long ago. But as good as she looks and feels, she continues to struggle with feelings of worthlessness and despair, and she has a tendency to push her friends away, mistaking their compassion for pity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You may recall the actress Jillian Bell from the Comedy Central series \u003cem>Workaholics\u003c/em>, or perhaps her scene-stealing performance in the movie \u003ca href=\"https://www.npr.org/2012/03/15/148696541/21-jump-street-one-remake-that-isnt-a-crime\">\u003cem>22 Jump Street\u003c/em>\u003c/a>. Brittany is the richest, most complex role she’s ever played, in part because her sense of humor is just one of her many emotional layers. We come to see how she uses comedy as a defense, encouraging others to laugh at her foibles so that she won’t have to face them herself.\u003c/p>\n\u003cp>If this all makes \u003cem>Brittany Runs a Marathon \u003c/em>sound like therapy, I suppose it is. But some therapy sessions are more entertaining than others. Nearly all the supporting characters are on hand to teach Brittany a life lesson or two, but they’re all so fun to spend time with that it hardly matters.\u003c/p>\n\u003cp>Utkarsh Ambudkar, from \u003cem>The Mindy Project, \u003c/em>plays a slacker artist type named Jern who gets thrown together with Brittany during an extended house-sitting gig. He’s super-annoying and totally charming, and you know from their first friendly spat that they’re made for each other. Alice Lee makes a nuanced villain as Brittany’s self-absorbed roommate, Gretchen, an aspiring Instagram influencer who superficially cheers her on but seems to enjoy having, in Brittany’s own words, “a fat sidekick.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Watkins is especially good as Catherine, who seems so fit and successful and put together at first, until Brittany realizes she’s going through intense emotional pain of her own. In less assured hands, \u003cem>Brittany Runs a Marathon\u003c/em> might have been an advertisement for the benefits of weight loss or a simplistic ode to the joys of inner beauty. But instead, it’s about how personal insecurity takes many forms, not all of which can be conquered, though maybe some of them can. And since we’re all messed up in our own ways and just trying to do better, we might as well do it together, one mile at a time.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Brittany+Runs+A+Marathon%27+Is+Formulaic%2C+But+Victorious+At+The+Finish+Line&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Before air conditioning, apartment living in the summer was oppressive, if not downright dangerous. Patricide and fratricide may not have been common half a century ago, but they weren’t unheard of. By the time late August crawled along, anyone and everyone seemed capable of murder.\u003c/p>\n\u003cp>Strangers were the biggest threat, unsurprisingly. The Boston Strangler, as the newspapers dubbed him, murdered his first blameless woman in July of 1962. Richard Speck’s July 14, 1966 killing spree of eight student nurses in a South Chicago townhouse was even more shocking. Ten years later to the month, David Berkowiz began shooting random New Yorkers (and terrorizing the rest, thanks to the tabloids) in a year‐long horror known as the Son of Sam killings. The Zodiac killer has something to say on the subject, too.\u003c/p>\n\u003cp>Filmmakers are naturally attracted to crime stories, especially when they involve the collision of innocence and evil, and the spiraling of trust into paranoia. Richard Fleischer’s 1968 take on Gerold Frank’s sensational (in every sense) bestseller, \u003cem>The Boston Strangler\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">Wednesday, Aug. 21, at the Castro Theatre\u003c/a>), marked one of the first times that a major star (in this case, Tony Curtis) was willing to play an unredeemable killer.\u003c/p>\n\u003cfigure id=\"attachment_13864470\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Frenzy.INline-800x492.jpg\" alt=\"A still from Alfred Hitchcock's 'Frenzy.'\" width=\"800\" height=\"492\" class=\"size-medium wp-image-13864470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Frenzy.INline-768x472.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Alfred Hitchcock’s ‘Frenzy.’ \u003ccite>(Courtesy Castro Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alfred Hitchcock got into the game with 1972’s \u003cem>Frenzy\u003c/em> (\u003ca href=\"https://www.castrotheatre.com/p-list.html#aug21\" rel=\"noopener\" target=\"_blank\">also at the Castro on Wednesday, Aug. 21\u003c/a>), and it may seem natural and inevitable that the prime purveyor of daylight frights would cheerfully expose the mass murderer next door. But there was widespread doubt at the time that Hitch had the stomach and chops to confront both the explicit brutality of real‐world serial killers and the new landscape of blood‐soaked movies.\u003c/p>\n\u003cp>Coming after several disappointing films suggesting that Hitchcock’s time and talents had passed, \u003cem>Frenzy\u003c/em> is an unequivocal masterpiece of character, pacing, audience engagement and (in one perfectly succinct and perfectly horrific sequence) sound design. Most memorably, the movie pierces the facade of male charm to reveal the depths of misogyny in a way that still shocks. It taps into that universal dilemma of urban life, namely the dangerous attraction of strangers, and the even more dangerous anonymity of the strangers we don’t see or meet—until it’s too late.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"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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"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.",
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"masters-of-scale": {
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"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/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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"order": 5
},
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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",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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