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"content": "\u003cp>\u003cem>I should take off my Spider-Man hoodie, shouldn’t I?\u003c/em>\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $800/month\u003c/li>\n\u003cli>Internet: $100/month\u003c/li>\n\u003cli>Coffee: $300/month\u003c/li>\n\u003cli>Comic shop income: $1,200/month\u003c/li>\n\u003cli>Teaching income: $100–$250/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tommybeland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Tom Beland\u003c/a> was walking up to the front door, and he was still second-guessing his wardrobe. He’d been desperately trying to find a place to live in Santa Rosa during a seemingly never-ending housing crisis. He knew he should probably appear professional to the landlord renting the room.\u003c/p>\n\u003cp>\u003cem>Screw it\u003c/em>, Beland thought, as he knocked on the door. \u003cem>I’ll leave the hoodie on\u003c/em>.\u003c/p>\n\u003cp>The door opened. The house, he quickly noticed, was filled with \u003cem>Star Wars\u003c/em> memorabilia. The guy renting out the room couldn’t care less about a Spider-Man hoodie, and the room was a steal: large, with its own side entrance, for only $800 a month. Beland assumed it’d be rented to a single mom or someone displaced by eviction. When he got the call that he could have it, “I got emotional, right there in my car,” he recalls.\u003c/p>\n\u003cp>The thing is, Beland \u003cem>was\u003c/em> appearing professional by wearing his hoodie. After all, he’d worked on \u003cem>Spider-Man\u003c/em>. For Marvel.\u003c/p>\n\u003cfigure id=\"attachment_13867416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg\" alt=\"Beland holding up drawings from 'Chicacabra,' a comic optioned by Selena Gomez.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland holding up drawings from ‘Chicacabra,’ a comic optioned by Selena Gomez. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From autobiographical zines to movie options\u003c/h2>\n\u003cp>Beland, 57, is a cartoonist. That means he draws pretty much constantly. During his downtime working at Outer Planes, a Santa Rosa comic book store, he draws. He teaches drawing classes to young students, where he draws, and picks up freelance gigs, for which he draws. Lately he’s been going to steampunk circus-type events, studying the performers, who he draws. Often, he’ll be at a local cafe every day, where he sits, and draws.\u003c/p>\n\u003cp>Beland lives a city that was home to the world’s most famous cartoonist, Charles Schulz, whose presence lingers throughout Santa Rosa in roadside statues of his \u003cem>Peanuts\u003c/em> characters and a museum bearing his name. But the landscape for comics has changed considerably since Schulz’s day.\u003c/p>\n\u003cp>Along with his $800 rent in the Roseland neighborhood of Santa Rosa, Beland estimates his other major living expenses are internet at $100 a month, and coffee at the cafes where he draws (“that’s my studio rent,” he quips)—$300 a month on average. Working primarily on an iPad now, he doesn’t have to buy many art supplies, and he avoids paying for TV by watching bootleg NBA streams on Reddit. Sometimes, he’ll get free coffee or food from waitresses or cooks who know him as the cartoonist guy who leaves clever drawings of the staff with his bill.\u003c/p>\n\u003cfigure id=\"attachment_13867442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg\" alt=\"Beland working at Brew, a cafe in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beland working at Brew, a cafe in Santa Rosa. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beland’s day job at the comic book store still provides the most income: about $1,200 a month on average, he says. The money from the lessons he teaches ranges from $100–$250 a month. The rest of his income ebbs and flows from various sources.\u003c/p>\n\u003cp>Beland has freelanced for Marvel, DC and Bongo; his byline is on comic books of \u003cem>Fantastic Four\u003c/em>, \u003cem>Wolverine\u003c/em>, \u003cem>Avengers\u003c/em> and \u003cem>The Simpsons\u003c/em>. When Beland first \u003ca href=\"https://www.marvel.com/comics/creators/726/tom_beland\" rel=\"noopener noreferrer\" target=\"_blank\">got asked to write \u003cem>Spider-Man\u003c/em> comic books\u003c/a> for Marvel, it was a dream come true: his own parents died when he was young, and reading \u003cem>Spider-Man\u003c/em>, the orphaned superhero, helped him through the pain.\u003c/p>\n\u003cp>“It’s one thing to read these characters, but when they’re saying words that came out of your head, it’s crazy,” he says. “I never thought I could love Spider-Man more than when I got to write Spider-Man.”\u003c/p>\n\u003cp>For his most recent \u003cem>Spider-Man\u003c/em> work in 2009, Beland got $170 per page—half for coming up with the story idea, or “plotting,” and half for writing. (Under his \u003cem>Spider-Man\u003c/em> deal, he gets royalties if the comics go to paperback. For \u003cem>The Simpsons\u003c/em>, he was paid $200 a page, but with no royalty option.)\u003c/p>\n\u003cfigure id=\"attachment_13867415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg\" alt=\"Beland's pantry holds food and stacks of drawings.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland’s pantry holds food and stacks of drawings. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Beland’s own books, his first was \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/2068084.True_Story_Swear_To_God_Archives_Volume_1_True_Story_Swear_to_God\" rel=\"noopener noreferrer\" target=\"_blank\">True Story Swear to God\u003c/a>\u003c/em>, which started as a comic strip in his hometown newspaper in Napa, the \u003cem>Napa Valley Register\u003c/em>, where he was on staff for 17 years. Initially photocopying the autobiographical comics in zine form with a cover price of $2.25 each, they were then anthologized in a book that garnered six nominations at the Eisner Awards, the highest honor in cartooning. The publishing rights now belong to Image Comics, which has kept it in print, although Beland has yet to recoup royalties from it.\u003c/p>\n\u003cp>Beland’s latest book, \u003cem>\u003ca href=\"https://www.idwpublishing.com/product/chicacabra/\" rel=\"noopener noreferrer\" target=\"_blank\">Chicacabra\u003c/a>\u003c/em>, also has yet to get out of the red. But it landed in the hands of pop star Selena Gomez, who loved the story so much she optioned it for a movie. An option doesn’t necessarily mean the film will get made; only that the one paying for the option has dibs on making it. And the pay can be good. Beland’s first option check for \u003cem>Chicacabra\u003c/em> was for $5,000. A second check came within the year, again for $5,000. He’s expecting a $10,000 check soon for another option renewal. \u003c/p>\n\u003cp>\u003cem>Chicacabra\u003c/em> follows the adventures of a Puerto Rican high school student, Isabel Sanchez, who after family tragedy discovers a mysterious, literal demon living inside of her body. “I made three demands,” Beland says of the option deal. “That she stay Puerto Rican, if possible, that I want an all-Latino crew, and that I want women on the writing staff. And I got all three.”\u003c/p>\n\u003cp>For Beland—who, like Gomez, openly wrestles with depression—the checks are an unexpected bonus to something he wrote five years ago. Like writing for \u003cem>Spider-Man\u003c/em>, though, it’s more than the money. \u003c/p>\n\u003cp>“I can see why Selena grabbed that character,” Beland says. “She’s dark, she’s broken, she’s shattered.”\u003c/p>\n\u003cfigure id=\"attachment_13867418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg\" alt=\"Beland now uses an iPad and stylus to do all his drawing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland now uses an iPad and stylus to do all his drawing. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An unexpected windfall and a viral hit\u003c/h2>\n\u003cp>A couple years ago, Beland himself was broken and shattered. On his way to his job at the comic book store, he was hit by a car on his scooter. He broke two ribs and shattered his elbow. He nearly settled for $5,000 when a former editor convinced him to talk to a lawyer.\u003c/p>\n\u003cp>“It was a year and a half of walking two miles from home to the comic shop,” Beland says. “I couldn’t afford bus fare every day. Food was minimum of bologna sandwiches every day.” (He still keeps a modest pantry—canned soup, white bread, Twinkies—inside an armoire in his room.)\u003c/p>\n\u003cp>The other driver’s insurance company eventually paid $75,000. After the lawyers took their cut, and Beland bought a new car, a comfortable pad of about $20,000 remained in the bank. Having no other savings or retirement investments, he’s tried not to touch it.\u003c/p>\n\u003cp>The iPad, something he once swore he’d never use, is an exception. It cost about $1,000, the special stylus another $100. For Beland, it felt wrong, spending so much money. “I don’t buy things like that. I’d been poor for four years,” he says. “I felt guilty when I bought it.”\u003c/p>\n\u003cfigure id=\"attachment_13867454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg\" alt=\"Stacks of comics and drawings abound in Tom Beland's $800/month room in a shared Santa Rosa house.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacks of comics and drawings abound in Tom Beland’s $800/month room in a shared Santa Rosa house. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon, he was drawing on it nonstop (“I was like Wayne Gretzky the first time he put skates on,” he jokes), and the digital nature of the iPad has allowed him to sell portraits at circus and burlesque shows quickly and cheaply, for $15–$40 each. \u003c/p>\n\u003cp>Some of Beland’s work doesn’t pay at all. Recently he contributed a two-page story sharply critical of Trump to \u003cem>\u003ca href=\"https://www.lionforge.com/puerto-rico-strong/\" rel=\"noopener noreferrer\" target=\"_blank\">Puerto Rico Strong\u003c/a>\u003c/em>, which won an Eisner Award for Best Anthology. The proceeds went to hurricane relief on the island, where Beland lived and called home for 20 years.\u003c/p>\n\u003cp>But Beland’s most-viewed drawing was one he did in about 15 minutes. In 2018, he’d just seen \u003cem>Black Panther\u003c/em> at the movie theater, where he saw some African American children in the lobby pointing at the movie poster, saying “That’s me.” He sketched the scene, posted it on Facebook, and it quickly went viral. After Michael B. Jordan, one of the film’s stars, reposted it, Marvel got in touch asking to use it as a special variant cover for the \u003cem>Black Panther\u003c/em> comic book.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bfo4cOWHEw7/\u003c/p>\n\u003cp>Marvel paid him $650 for the sketch. But again, it was about more than the money. Beland was flown around the country for signings, and “I got hugged by a lot of people,” he says. “There were some real emotional moments.”\u003c/p>\n\u003cp>For the time being, Beland wants to stay in the Bay Area, despite the high cost of living. His brother lives here, “and he’s everything to me,” he says.[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>And having been in the business for over 30 years, he has some advice for up-and-coming cartoonists.\u003c/p>\n\u003cp>“You better be ready to grind,” he says. “If you’re going to be a pro baseball player, you’re not going from high school to the Yankees. You’re on a bus. If you’re doing comedy, you’re in a car, you’re going to go to some hotel that’s horrendous, and you maybe get 25 bucks.”\u003c/p>\n\u003cp>“But,” Beland continues, “it gets you to that gig that’s really interesting. And it gives you the jones to go back and do that next thing. That’s what I’m always looking for. The next thing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $800/month\u003c/li>\n\u003cli>Internet: $100/month\u003c/li>\n\u003cli>Coffee: $300/month\u003c/li>\n\u003cli>Comic shop income: $1,200/month\u003c/li>\n\u003cli>Teaching income: $100–$250/month\u003c/li>\n\u003c/ul>\n\u003cp>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/tommybeland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">Tom Beland\u003c/a> was walking up to the front door, and he was still second-guessing his wardrobe. He’d been desperately trying to find a place to live in Santa Rosa during a seemingly never-ending housing crisis. He knew he should probably appear professional to the landlord renting the room.\u003c/p>\n\u003cp>\u003cem>Screw it\u003c/em>, Beland thought, as he knocked on the door. \u003cem>I’ll leave the hoodie on\u003c/em>.\u003c/p>\n\u003cp>The door opened. The house, he quickly noticed, was filled with \u003cem>Star Wars\u003c/em> memorabilia. The guy renting out the room couldn’t care less about a Spider-Man hoodie, and the room was a steal: large, with its own side entrance, for only $800 a month. Beland assumed it’d be rented to a single mom or someone displaced by eviction. When he got the call that he could have it, “I got emotional, right there in my car,” he recalls.\u003c/p>\n\u003cp>The thing is, Beland \u003cem>was\u003c/em> appearing professional by wearing his hoodie. After all, he’d worked on \u003cem>Spider-Man\u003c/em>. For Marvel.\u003c/p>\n\u003cfigure id=\"attachment_13867416\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg\" alt=\"Beland holding up drawings from 'Chicacabra,' a comic optioned by Selena Gomez.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_9_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland holding up drawings from ‘Chicacabra,’ a comic optioned by Selena Gomez. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>From autobiographical zines to movie options\u003c/h2>\n\u003cp>Beland, 57, is a cartoonist. That means he draws pretty much constantly. During his downtime working at Outer Planes, a Santa Rosa comic book store, he draws. He teaches drawing classes to young students, where he draws, and picks up freelance gigs, for which he draws. Lately he’s been going to steampunk circus-type events, studying the performers, who he draws. Often, he’ll be at a local cafe every day, where he sits, and draws.\u003c/p>\n\u003cp>Beland lives a city that was home to the world’s most famous cartoonist, Charles Schulz, whose presence lingers throughout Santa Rosa in roadside statues of his \u003cem>Peanuts\u003c/em> characters and a museum bearing his name. But the landscape for comics has changed considerably since Schulz’s day.\u003c/p>\n\u003cp>Along with his $800 rent in the Roseland neighborhood of Santa Rosa, Beland estimates his other major living expenses are internet at $100 a month, and coffee at the cafes where he draws (“that’s my studio rent,” he quips)—$300 a month on average. Working primarily on an iPad now, he doesn’t have to buy many art supplies, and he avoids paying for TV by watching bootleg NBA streams on Reddit. Sometimes, he’ll get free coffee or food from waitresses or cooks who know him as the cartoonist guy who leaves clever drawings of the staff with his bill.\u003c/p>\n\u003cfigure id=\"attachment_13867442\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg\" alt=\"Beland working at Brew, a cafe in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_20_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beland working at Brew, a cafe in Santa Rosa. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beland’s day job at the comic book store still provides the most income: about $1,200 a month on average, he says. The money from the lessons he teaches ranges from $100–$250 a month. The rest of his income ebbs and flows from various sources.\u003c/p>\n\u003cp>Beland has freelanced for Marvel, DC and Bongo; his byline is on comic books of \u003cem>Fantastic Four\u003c/em>, \u003cem>Wolverine\u003c/em>, \u003cem>Avengers\u003c/em> and \u003cem>The Simpsons\u003c/em>. When Beland first \u003ca href=\"https://www.marvel.com/comics/creators/726/tom_beland\" rel=\"noopener noreferrer\" target=\"_blank\">got asked to write \u003cem>Spider-Man\u003c/em> comic books\u003c/a> for Marvel, it was a dream come true: his own parents died when he was young, and reading \u003cem>Spider-Man\u003c/em>, the orphaned superhero, helped him through the pain.\u003c/p>\n\u003cp>“It’s one thing to read these characters, but when they’re saying words that came out of your head, it’s crazy,” he says. “I never thought I could love Spider-Man more than when I got to write Spider-Man.”\u003c/p>\n\u003cp>For his most recent \u003cem>Spider-Man\u003c/em> work in 2009, Beland got $170 per page—half for coming up with the story idea, or “plotting,” and half for writing. (Under his \u003cem>Spider-Man\u003c/em> deal, he gets royalties if the comics go to paperback. For \u003cem>The Simpsons\u003c/em>, he was paid $200 a page, but with no royalty option.)\u003c/p>\n\u003cfigure id=\"attachment_13867415\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg\" alt=\"Beland's pantry holds food and stacks of drawings.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_4_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland’s pantry holds food and stacks of drawings. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Beland’s own books, his first was \u003cem>\u003ca href=\"https://www.goodreads.com/en/book/show/2068084.True_Story_Swear_To_God_Archives_Volume_1_True_Story_Swear_to_God\" rel=\"noopener noreferrer\" target=\"_blank\">True Story Swear to God\u003c/a>\u003c/em>, which started as a comic strip in his hometown newspaper in Napa, the \u003cem>Napa Valley Register\u003c/em>, where he was on staff for 17 years. Initially photocopying the autobiographical comics in zine form with a cover price of $2.25 each, they were then anthologized in a book that garnered six nominations at the Eisner Awards, the highest honor in cartooning. The publishing rights now belong to Image Comics, which has kept it in print, although Beland has yet to recoup royalties from it.\u003c/p>\n\u003cp>Beland’s latest book, \u003cem>\u003ca href=\"https://www.idwpublishing.com/product/chicacabra/\" rel=\"noopener noreferrer\" target=\"_blank\">Chicacabra\u003c/a>\u003c/em>, also has yet to get out of the red. But it landed in the hands of pop star Selena Gomez, who loved the story so much she optioned it for a movie. An option doesn’t necessarily mean the film will get made; only that the one paying for the option has dibs on making it. And the pay can be good. Beland’s first option check for \u003cem>Chicacabra\u003c/em> was for $5,000. A second check came within the year, again for $5,000. He’s expecting a $10,000 check soon for another option renewal. \u003c/p>\n\u003cp>\u003cem>Chicacabra\u003c/em> follows the adventures of a Puerto Rican high school student, Isabel Sanchez, who after family tragedy discovers a mysterious, literal demon living inside of her body. “I made three demands,” Beland says of the option deal. “That she stay Puerto Rican, if possible, that I want an all-Latino crew, and that I want women on the writing staff. And I got all three.”\u003c/p>\n\u003cp>For Beland—who, like Gomez, openly wrestles with depression—the checks are an unexpected bonus to something he wrote five years ago. Like writing for \u003cem>Spider-Man\u003c/em>, though, it’s more than the money. \u003c/p>\n\u003cp>“I can see why Selena grabbed that character,” Beland says. “She’s dark, she’s broken, she’s shattered.”\u003c/p>\n\u003cfigure id=\"attachment_13867418\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg\" alt=\"Beland now uses an iPad and stylus to do all his drawing.\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13867418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_13_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Beland now uses an iPad and stylus to do all his drawing. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An unexpected windfall and a viral hit\u003c/h2>\n\u003cp>A couple years ago, Beland himself was broken and shattered. On his way to his job at the comic book store, he was hit by a car on his scooter. He broke two ribs and shattered his elbow. He nearly settled for $5,000 when a former editor convinced him to talk to a lawyer.\u003c/p>\n\u003cp>“It was a year and a half of walking two miles from home to the comic shop,” Beland says. “I couldn’t afford bus fare every day. Food was minimum of bologna sandwiches every day.” (He still keeps a modest pantry—canned soup, white bread, Twinkies—inside an armoire in his room.)\u003c/p>\n\u003cp>The other driver’s insurance company eventually paid $75,000. After the lawyers took their cut, and Beland bought a new car, a comfortable pad of about $20,000 remained in the bank. Having no other savings or retirement investments, he’s tried not to touch it.\u003c/p>\n\u003cp>The iPad, something he once swore he’d never use, is an exception. It cost about $1,000, the special stylus another $100. For Beland, it felt wrong, spending so much money. “I don’t buy things like that. I’d been poor for four years,” he says. “I felt guilty when I bought it.”\u003c/p>\n\u003cfigure id=\"attachment_13867454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg\" alt=\"Stacks of comics and drawings abound in Tom Beland's $800/month room in a shared Santa Rosa house.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13867454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/KQED_Tom_Beland_hires_7_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stacks of comics and drawings abound in Tom Beland’s $800/month room in a shared Santa Rosa house. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But soon, he was drawing on it nonstop (“I was like Wayne Gretzky the first time he put skates on,” he jokes), and the digital nature of the iPad has allowed him to sell portraits at circus and burlesque shows quickly and cheaply, for $15–$40 each. \u003c/p>\n\u003cp>Some of Beland’s work doesn’t pay at all. Recently he contributed a two-page story sharply critical of Trump to \u003cem>\u003ca href=\"https://www.lionforge.com/puerto-rico-strong/\" rel=\"noopener noreferrer\" target=\"_blank\">Puerto Rico Strong\u003c/a>\u003c/em>, which won an Eisner Award for Best Anthology. The proceeds went to hurricane relief on the island, where Beland lived and called home for 20 years.\u003c/p>\n\u003cp>But Beland’s most-viewed drawing was one he did in about 15 minutes. In 2018, he’d just seen \u003cem>Black Panther\u003c/em> at the movie theater, where he saw some African American children in the lobby pointing at the movie poster, saying “That’s me.” He sketched the scene, posted it on Facebook, and it quickly went viral. After Michael B. Jordan, one of the film’s stars, reposted it, Marvel got in touch asking to use it as a special variant cover for the \u003cem>Black Panther\u003c/em> comic book.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marvel paid him $650 for the sketch. But again, it was about more than the money. Beland was flown around the country for signings, and “I got hugged by a lot of people,” he says. “There were some real emotional moments.”\u003c/p>\n\u003cp>For the time being, Beland wants to stay in the Bay Area, despite the high cost of living. His brother lives here, “and he’s everything to me,” he says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And having been in the business for over 30 years, he has some advice for up-and-coming cartoonists.\u003c/p>\n\u003cp>“You better be ready to grind,” he says. “If you’re going to be a pro baseball player, you’re not going from high school to the Yankees. You’re on a bus. If you’re doing comedy, you’re in a car, you’re going to go to some hotel that’s horrendous, and you maybe get 25 bucks.”\u003c/p>\n\u003cp>“But,” Beland continues, “it gets you to that gig that’s really interesting. And it gives you the jones to go back and do that next thing. That’s what I’m always looking for. The next thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>It grossed $255 million worldwide, won Jordan Peele the Best Original Screenplay Oscar (making him the first-ever black recipient of the award), garnered a mountain of critical acclaim and instantly made a mark on pop culture. Adding to the many reasons to appreciate \u003cem>Get Out, \u003c/em>the San Francisco Symphony will accompany a screening of the movie the night before Halloween.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DzfpyUB60YY\u003c/p>\n\u003cp>The chilling original music for the film was masterminded by \u003ca href=\"https://en.wikipedia.org/wiki/Michael_Abels\" target=\"_blank\" rel=\"noopener\">Michael Abels\u003c/a>, a composer based in Southern California who had never scored a movie before. For inspiration, Peele sent Abels some examples of music he found “terrifying,” including Latin chants, old blues and other soundtracks.\u003c/p>\n\u003cp>“The music had to have the emotional depth that the music in a Hitchcock film has,” \u003ca href=\"https://crackmagazine.net/article/long-reads/composer-michael-abels-produced-chilling-score-get/\" target=\"_blank\" rel=\"noopener\">Abels told \u003cem>Crack\u003c/em>\u003c/a> magazine in 2017. “I was really shooting for that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a kind of rhythmic pulse to the score which is unlike a normal suspense score—it’s a lot more modern,” Abels continued. “Whenever we needed a sound which was unfamiliar, we would look to strings or rattles—something based in the natural world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/film\" target=\"_blank\" rel=\"noopener\">Film Night\u003c/a> offers a stellar program—including \u003cem>Coco\u003c/em>, \u003cem>Ghostbusters\u003c/em>, \u003cem>It’s a Wonderful Life\u003c/em>, \u003cem>Apollo 13\u003c/em> and \u003cem>Love Actually\u003c/em>—for the rest of the year. \u003cem>Get Out\u003c/em> is sure to be a highlight, bringing an acute creep factor to a movie already brimming with claustrophobic terror.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Rae Alexandra\u003c/strong>\u003c/p>\n\u003cp>It grossed $255 million worldwide, won Jordan Peele the Best Original Screenplay Oscar (making him the first-ever black recipient of the award), garnered a mountain of critical acclaim and instantly made a mark on pop culture. Adding to the many reasons to appreciate \u003cem>Get Out, \u003c/em>the San Francisco Symphony will accompany a screening of the movie the night before Halloween.\u003c/p>\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/DzfpyUB60YY'\n title='//www.youtube.com/embed/DzfpyUB60YY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The chilling original music for the film was masterminded by \u003ca href=\"https://en.wikipedia.org/wiki/Michael_Abels\" target=\"_blank\" rel=\"noopener\">Michael Abels\u003c/a>, a composer based in Southern California who had never scored a movie before. For inspiration, Peele sent Abels some examples of music he found “terrifying,” including Latin chants, old blues and other soundtracks.\u003c/p>\n\u003cp>“The music had to have the emotional depth that the music in a Hitchcock film has,” \u003ca href=\"https://crackmagazine.net/article/long-reads/composer-michael-abels-produced-chilling-score-get/\" target=\"_blank\" rel=\"noopener\">Abels told \u003cem>Crack\u003c/em>\u003c/a> magazine in 2017. “I was really shooting for that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.mvff.com\" rel=\"noopener\" target=\"_blank\">Mill Valley Film Festival\u003c/a>, which opens Thursday, Oct. 3 with the fact-based, racial injustice drama \u003cem>Just Mercy\u003c/em>, smoothly integrates (no pun intended) several paradoxes. For starters, the litany of star-fueled Oscar hopefuls—\u003cem>The Two Popes\u003c/em>, \u003cem>A Hidden Life\u003c/em>, \u003cem>Waves\u003c/em>, \u003cem>Harriet\u003c/em>, \u003cem>Marriage Story\u003c/em>, \u003cem>Dolemite Is My Name\u003c/em>, \u003cem>Frankie\u003c/em>, \u003cem>The Irishman\u003c/em>, \u003cem>The Aeronauts\u003c/em>, \u003cem>The Report\u003c/em> and the closing night films \u003cem>Ford v Ferrari\u003c/em> and \u003cem>Motherless Brooklyn\u003c/em>) comfortably coexists with an even longer list of Bay Area indies (including the world premieres of Rob Nilsson’s \u003cem>Arid Cut\u003c/em> and Jeanne C. Finley’s nonfiction \u003cem>Journeys Behind the Cosmodrome\u003c/em>).\u003c/p>\n\u003cp>Meanwhile, the flash-bulb visits of global stars Laura Dern, Kristin Stewart, Shia LaBeouf, Barbara Rush, Stellan Skarsgard, Olivia Wilde, Robert Pattinson, Lena Olin and Edward Norton somehow won’t overshadow the “Behind the Screens” panels and workshops designed to advise and support aspiring filmmakers. Nor will that glamorous array of couture-clad thespians diminish the impact of the shocking social-justice documentaries that dot the MVFF program.\u003c/p>\n\u003cp>The greatest paradox (or irony?) of MVFF, and pretty much every festival, is that the most provocative and meaningful movies seem to fly under the radar. Israeli filmmaker Nadav Lapid’s Berlinale prizewinner \u003cem>Synonyms\u003c/em> and Bosnian director Ena Sendijarevic’s Rotterdam triumph \u003cem>Take Me Somewhere Nice\u003c/em> highlight this “category,” along with Russian director Kantemir Balagov’s Cannes breakthrough \u003cem>Beanpole\u003c/em> and Iranian director Taghi Amirani’s obsessively researched documentary \u003cem>Coup 53\u003c/em> (co-written and edited by the peerless Walter Murch).\u003c/p>\n\u003cp>One final paradox that MVFF, or should we say Mill Valley, somehow reconciles is the tug-of-war between summer and fall. The early October sun still burns with force, while the air nips with autumn’s teeth. It’s perfect movie-going weather.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Since 2015, under the threat of the Taliban, Afghan filmmakers Hassan Fazili and Fatima Hussaini, along with their two young daughters, have been on the run for their lives.\u003c/p>\n\u003cp>The family fled Afghanistan after the extremist group had called for Fazili’s death over a film he’d made about one of its commanders.\u003c/p>\n\u003cp>Even as the refugee family navigates a still-incomplete journey—of death threats, discrimination and paralyzing immigration systems—Fazili and Hussaini turn their cameras on themselves and their daughters.\u003c/p>\n\u003cp>Hundreds of hours of footage that Fazili and his family all shot on their three cell phone cameras emerge as the new documentary, \u003cem>Midnight Traveler\u003c/em>.\u003c/p>\n\u003cp>Although the film has already started to roll out in theaters, their journey isn’t over. The family awaits a pending application to remain in Germany, where they’ve been living since April 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTT-duEoRdc\u003c/p>\n\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BTT-duEoRdc'\n title='//www.youtube.com/embed/BTT-duEoRdc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/iJ4mU3oQW3g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Academy Awards voters can rarely resist a celebrity impersonation, judging by some of the star turns that have won Oscars in recent years. These aren’t just performances; they’re jaw-dropping feats of mimicry. \u003ca href=\"https://www.npr.org/2018/02/09/583963660/pop-culture-happy-hour-gary-oldman-jowls-it-up-as-winston-churchill\" target=\"_blank\" rel=\"noopener\">Gary Oldman\u003c/a> is Winston Churchill! \u003ca href=\"https://www.npr.org/2018/11/21/669850052/you-better-own-this-how-rami-malek-came-to-embody-freddie-mercury\" target=\"_blank\" rel=\"noopener\">Rami Malek\u003c/a> is Freddie Mercury!\u003c/p>\n\u003cp>The new film \u003cem>Judy\u003c/em> is being sold along similar lines: Renée Zellweger is Judy Garland! To judge by the breathless hype that has greeted the movie so far, the approach seems to be paying off.\u003c/p>\n\u003cp>What makes \u003cem>Judy\u003c/em> unusually fascinating for an otherwise-standard celebrity biopic is that Zellweger isn’t Judy Garland: Her transformation is impressive but hardly definitive. Even with the help of a dark wig and skillful makeup and prosthetics, she doesn’t exactly disappear into the role of the beloved singer and actress who captivated the public in movies like \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Meet Me in St. Louis\u003c/em>.\u003c/p>\n\u003cp>But even if you don’t always believe you’re in the presence of Garland, Zellweger nearly makes up in raw emotional commitment what she lacks in verisimilitude. Her intensely felt, go-for-broke performance sometimes runs the risk of overwhelming this sturdy screen adaptation of Peter Quilter’s stage play, \u003cem>End of the Rainbow\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iJ4mU3oQW3g'\n title='//www.youtube.com/embed/iJ4mU3oQW3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Judy\u003c/em> begins with one of several flashbacks to the teenage Garland on the set of \u003cem>The Wizard of Oz,\u003c/em> showing us how the industry created and destroyed her in the same breath. Her body and image are ruthlessly controlled by the powerful MGM studio head Louis B. Mayer, who puts her on a strict diet and gives her barbiturates and amphetamines, setting in motion the substance-abuse problem that she will struggle with for the rest of her life.\u003c/p>\n\u003cp>But most of the movie is set in 1969, long after her Hollywood heyday and mere months before her death at the age of 47. Judy is now broke and virtually homeless, dragging herself from one crummy L.A. club performance to another. We meet her eldest child, \u003ca href=\"https://www.npr.org/artists/15836739/liza-minnelli\" target=\"_blank\" rel=\"noopener\">Liza Minnelli\u003c/a>, at a house party, and also Judy’s third husband, Sidney Luft, who takes custody of their two young children while she reluctantly books a gig at The Talk of the Town nightclub in London. Although she’s devastated at being separated from her kids, Judy has little choice but to work overseas, where her fans can still be counted on to turn out in full force.\u003c/p>\n\u003cp>In London, Judy’s depression and insomnia quickly take over: She pops pills, skips rehearsals and nearly misses opening night. But once she stumbles into the spotlight and starts crooning “By Myself” and “The Trolley Song,” her confidence comes surging back and she enjoys having an appreciative crowd again.\u003c/p>\n\u003cp>One night after a show, Judy, feeling lonely, befriends an adoring couple, Stan and Dan, and joins them for a late dinner at their apartment. In a touching scene, Dan, played by Andy Nyman, reminds Judy how much she means to her many gay fans.\u003c/p>\n\u003cp>The director, Rupert Goold, has a deft way with actors. He gets a lovely performance from Jessie Buckley as Judy’s London handler, Rosalyn Wilder, always there to lend an ear and keep her on schedule. Finn Wittrock plays the aggressively charming music entrepreneur Mickey Deans, who becomes Judy’s fifth and final husband. Their tempestuous union does a number on Judy, who suffers a few drunken onstage meltdowns before rebounding with a climactic performance of “Over the Rainbow” that might just reduce you to tears.\u003c/p>\n\u003cp>It’s a dazzling showcase for Zellweger, whose commitment is astonishing even when the illusion doesn’t always seize hold. While the actress has a sweetly quavering singing voice, she makes no effort to match Garland’s warm, velvety contralto—reportedly at the instruction of the director himself, who rightly guessed that it would be smarter to channel Garland than to imitate her. Curiously, Zellweger’s physical resemblance to Garland is most pronounced when the camera catches her in profile; she wears the character like a mask that keeps slipping. There’s something poignant about that, since Garland herself struggled to live up to a persona constructed for an audience that could love her one minute and turn on her the next.\u003c/p>\n\u003cp>Zellweger herself knows something about what it’s like to be chewed up and spat out by the industry machine. After her earlier triumphs in movies like \u003cem>Chicago\u003c/em> and \u003cem>Cold Mountain\u003c/em> (the latter for which she won an Oscar), she struggled for the next decade to find decent roles. She endured much sexist mockery from the entertainment press and only recently returned to filmmaking after a six-year hiatus. Her empathy for her subject is apparent in every scene. Renée Zellweger may not be Judy Garland, but she reminds us that technical perfection is no match for emotional truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "6 1/2 Reasons 'Between Two Ferns: The Movie' Defies The Sketch-Into-Movie Curse",
"headTitle": "6 1/2 Reasons ‘Between Two Ferns: The Movie’ Defies The Sketch-Into-Movie Curse | KQED",
"content": "\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OjljgkCQv5c\u003c/p>\n\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The premise was simple. Clean. Direct. If one were feeling uncharitable, one might even say \u003cem>thin\u003c/em>.\u003c/p>\n\u003cp>In a series of 21 videos posted to Will Ferrell’s Funny or Die website, comedian Zach Galifianakis played a version of himself, interviewing celebrities. That was it. Now: It was a \u003cem>pinched \u003c/em>version of himself. A bored, distracted, irritable Zach Galifianakis, lobbing questions that were condescending and dismissive at best, and jaw-droppingly insulting at worst.\u003c/p>\n\u003cp>The celebrities were A-list: Brad Pitt, Natalie Portman, Bradley Cooper, Steve Carell. The setting was distinctly D-minus-list: two chairs, a black background curtain, and two large ferns. Everything about it—the harsh lighting, the static camera, the blocky, frequently misspelled chyrons—was meant to evoke the lawless frontier of public access television, where both Galifianakis and his \u003cem>Between Two Ferns\u003c/em> co-creator Scott Aukerman \u003cem>(Comedy Bang Bang)\u003c/em> got their starts.\u003c/p>\n\u003cp>Episodes were brief: a tight three minutes and change in the early going, and later, once they hit the big time with Very Special Episodes featuring Barack Obama and Hillary Clinton, nearly seven.\u003c/p>\n\u003cp>The news that Netflix would release a \u003cem>Between Two Ferns\u003c/em> movie (which dropped on Friday, Sept. 20) caused fans of the Web series to experience that alchemical mixture of excitement and dread that has become the defining mood of this, our current era of ceaseless reboots and relaunches. “It’s a great show,” we thought, “but it’s … a sketch, basically. And movies made out of sketches tend to …” and here we fell silent, and lowered our eyes to the floor, and perhaps we turned around in a circle three times and spat, to ward off the curse of \u003cem>It’s Pat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not just \u003cem>It’s Pat,\u003c/em> of course, but also \u003cem>A Night at the Roxbury,\u003c/em> and \u003cem>The Ladies’ Man,\u003c/em> and \u003cem>Stuart Saves His Family\u003c/em>.\u003c/p>\n\u003cp>“Now hold up,” you say. “What about \u003cem>MacGruber\u003c/em>? \u003cem>MacGruber\u003c/em> worked. And \u003cem>Wayne’s World\u003c/em>. And \u003cem>Blues Brothers,\u003c/em> after all, come on.”\u003c/p>\n\u003cp>We agree about \u003cem>MacGruber, \u003c/em>you and I. But the three examples you listed are exceptions. And besides, for every \u003cem>Wayne’s World,\u003c/em> there’s a \u003cem>Wayne’s World 2.\u003c/em> And for every \u003cem>Blues Brothers,\u003c/em> there is, alas, a \u003cem>Blues Brothers 2000\u003c/em>.\u003c/p>\n\u003cp>The point is: It is prohibitively difficult to transform a five-minute sketch into a feature-length film. But \u003cem>Between Two Ferns: The Movie\u003c/em> manages to pull it off, for 6 1/2 reasons.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OjljgkCQv5c'\n title='//www.youtube.com/embed/OjljgkCQv5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>The 6 1/2 Reasons \u003c/strong>\u003cstrong>\u003cem>Between Two Ferns: The Movie\u003c/em>\u003c/strong>\u003cstrong> Defies The Sketch-Into-Movie Curse\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>1. It commits to the bit(s) …\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BTF: TM\u003c/em> knows what we want, and wastes no time delivering it. It quickly sets up a rickety plot device that sends Galifianakis and a small group of cohorts on the road, searching for 10 celebrities to interview and thus deliver unto us precisely what the Web series did: celebrities we’re used to seeing being fawned over on red carpets instead enduring a passive-aggressive (and sometimes aggressive-aggressive) fileting by a truculent, beardy oaf wearing tube socks under his chinos.\u003c/p>\n\u003cp>The first such interview, with a sullen Matthew McConaughey, gives us both interviewer and interviewee in fine form, before subjecting them to … well. You’ll see.\u003c/p>\n\u003cp>\u003cstrong>2. … And then builds them out\u003c/strong>\u003c/p>\n\u003cp>If the movie simply contented itself with delivering those celebrity interviews—if it offered us nothing but A-listers like Brie Larson and Tiffany Haddish looking pained and discomfited under the barrage of Galifianakis goofery—it would seem like little more than a supercut of the Web series. Which would be fine, if less than truly satisfying.\u003c/p>\n\u003cp>Instead, the film justifies its existence by assiduously creating the world around that sad little set we’ve come to know so well—firstly, the public access television station of Flinch, the small North Carolina town in which this alternate-universe Zach Galifianakis churns out his show in relative obscurity. We meet his co-workers, who, we learn, regard him with everything from admiration (rare) to outright disdain (common), and he tells us (technically, he tells the documentary crew he has hired to chronicle his life) of his dream—a national talk show.\u003c/p>\n\u003cp>We meet this reality’s version of Will Ferrell, a pompous, coked-out media mogul only too happy to exploit the bumbling host of the small-town public access talk show he has “discovered.”\u003c/p>\n\u003cp>Every additional element isn’t simply there to pad the story—they each lend their own comedic weight, which increases the film’s narrative momentum. That proves important, and it’s something most other movies made from the bones of comedy sketches have failed to execute.\u003c/p>\n\u003cp>\u003cstrong>3. It casts the right people …\u003c/strong>\u003c/p>\n\u003cp>In the early going, the film leans into the mockumentary device, featuring testimonials from Galifianakis’ co-workers, but—perhaps owing to the fact that the movie was largely improvised—that familiar narrative infrastructure quickly collapses, and it resurfaces only fitfully as the story unfolds.\u003c/p>\n\u003cp>Instead, the film depends on the characters—which is to say the improv comedians—around Galifianakis to ground the film, to ablate the interviews’ caustic edge of ironic anti-comedy, and find its heart. In doing so, it pulls from the company of actors who’ve appeared on Aukerman’s \u003cem>Comedy Bang Bang\u003c/em> podcast and (late, lamented) television series (Lauren Lapkus, Ryan Gaul, Paul Rust, a blink-and-you’ll-miss-him Paul F. Tompkins) as well as newish faces like Jiavani Linayao, as a boom operator named … Boom Boom.\u003c/p>\n\u003cp>The celebrities featured in the film’s interviews gamely play along, some more entertainingly than others, and this variance lends these segments, and the film around them, a satisfying texture.\u003c/p>\n\u003cp>\u003cstrong>4. … And uses them well\u003c/strong>\u003c/p>\n\u003cp>The core team that Galifianakis takes with him on the road—earnest assistant Carol (Lapkus), surly camera operator Cam (Gaul) and warmly empathetic Boom Boom (Linayao) are given sufficient screen time to play off Galifianakis’ not-quite-one-note vain witlessness. This allows the nature of their respective relationships to him to grow and change, slightly.\u003c/p>\n\u003cp>Meanwhile, certain celebrity interviews work to serve the larger story even as they supply the yuks. David Letterman becomes a kind of reluctant (\u003cem>deeply \u003c/em>reluctant) mentor, and Peter Dinklage supplies the film with a key plot development that propels it into its third act.\u003c/p>\n\u003cp>\u003cstrong>4a. Lauren Lapkus\u003c/strong>\u003c/p>\n\u003cp>I know I already mentioned Lapkus above, but her contribution here deserves a special shout-out. As Galifianakis’ concerned assistant Carol, she provides the film with its much needed emotional throughline—without her, the whole affair would soon devolve into glib silliness. Or more precisely: into nothing \u003cem>but \u003c/em>glib silliness.\u003c/p>\n\u003cp>Now of course, hers is an outsize, performative sincerity, but in the face of the movie’s sustained archness, she provides us with someone to root for during the quiet, surprisingly emotional moments.\u003c/p>\n\u003cp>Also? Not for nothing? Her opening bit with the iMac is such a dumb, good joke.\u003c/p>\n\u003cp>\u003cstrong>5. Brevity\u003c/strong>\u003c/p>\n\u003cp>82 minutes! Just enough! Not too much!\u003c/p>\n\u003cp>\u003cstrong>6. Joke density\u003c/strong>\u003c/p>\n\u003cp>And so we arrive at the true secret of \u003cem>Between Two Ferns: The Movie\u003c/em>‘s singular success—the thing it knows that other sketch-into-movies (with the notable exception of \u003cem>MacGruber\u003c/em>) did not.\u003c/p>\n\u003cp>Joke density. Gag-per-minute frequency.\u003c/p>\n\u003cp>The sheer onslaught of stupid, silly, dumb, witless jokes serves twin purposes: It keeps us watching, and laughing, instead of checking our phones; and it ensures that \u003cem>BTF:TM\u003c/em> rewards repeat viewings.\u003c/p>\n\u003cp>Now: Critics who write about comedies are sorely tempted to give away some of their favorite jokes. It’s understandable, inasmuch as it provides readers with a palpable sense of the shape and tone and quality of the humor under review. But I’m both a critic and a comedy nerd, and when it comes to reviewing comedies, the latter aspect prevails; I bend over backward to avoid spoiling jokes, which are best experienced fresh.\u003c/p>\n\u003cp>But given the sheer number of good, solid, very dumb jokes in \u003cem>Between Two Ferns: The Movie,\u003c/em> I feel confident that I can list, with a certain amount of deliberate obfuscation, those jokes so good they managed to elicit in me a bark-laugh, upon repeated viewings, every single time:\u003c/p>\n\u003cul>\n\u003cli>The Monopoly joke\u003c/li>\n\u003cli>Lapkus’ delivery of “Too many A’s!”\u003c/li>\n\u003cli>The Chrissy Teigen origin story\u003c/li>\n\u003cli>Galifianakis’ facial reaction to the cape/cloak distinction\u003c/li>\n\u003cli>The carton. My God, the carton\u003c/li>\n\u003cli>“MY PRECIOUS EGGS!”\u003c/li>\n\u003cli>The password joke\u003c/li>\n\u003cli>Galifianakis’ variant pronunciation of the word “ruined,” which, weirdly enough, precisely echoes that of John Mulaney’s character in the \u003cem>Documentary Now! \u003c/em>episode “Co-op.”\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One last thing: The closing credits include outtakes from the film’s celebrity interviews, including several instances of Galifianakis breaking into laughter—and breaking character—over the cruelty of the question he just posed. It’s fascinating, and \u003cem>very \u003c/em>funny, but it completely punctures the entire conceit. Be warned.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=6+1%2F2+Reasons+%27Between+Two+Ferns%3A+The+Movie%27+Defies+The+Sketch-Into-Movie+Curse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How One Apocalyptic BBC Movie Scarred a Generation of U.K. Schoolchildren",
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"content": "\u003cp>Thirty-five years ago this week, the BBC aired \u003ca href=\"https://www.imdb.com/title/tt0090163/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener\">\u003cem>Threads\u003c/em>\u003c/a>, one of the most searing movies about nuclear war in TV history. The following year, the docu-drama aired on TBS and became, at the time, the most watched basic cable show in America. Today it can be found on dedicated horror streaming channel, Shudder. But back in 1984? It was recorded by teachers across the U.K. and shown to an entire generation of schoolchildren.\u003c/p>\n\u003cp>https://twitter.com/mrjimbecks/status/1176097881331290113\u003c/p>\n\u003cp>https://twitter.com/PublicBenjamin/status/1176209518604296192\u003c/p>\n\u003cp>https://twitter.com/linecon0/status/1176072657391038465\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vgT4Y30DkaA\u003c/p>\n\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=120wGLgCTkg\u003c/p>\n\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\n\u003cp>https://twitter.com/MrJSnod/status/1176138007205863424\u003c/p>\n\u003cp>https://twitter.com/DavidWPoole73/status/1176189847268184069\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/JudasDJs/status/1176069665057071105\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cem>Threads\u003c/em> starts by juxtaposing the mundane everyday activities of two normal English families with calamitous events playing out on the world stage. The film uses a worst case scenario (Soviet Union invades Iran, America retaliates, England gets caught in the crossfire) alongside the bleakest of visuals, to emphasize just how little power the average person has over their own fate. Both protest and prayer are depicted as utterly useless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vgT4Y30DkaA'\n title='//www.youtube.com/embed/vgT4Y30DkaA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While it’s understandable that a film in which two-thirds of Britain is destroyed by nuclear bombs would be deemed school-worthy—especially during the Cold War—the imagery in \u003cem>Threads\u003c/em> was extraordinarily visceral. At the moment of the country’s destruction, for example, the film shows bodies burning (including a baby), rubble landing on people’s heads, humans crawling through fire, buildings falling, charred hands, a cat dying, an elderly woman soiling herself and a man violently vomiting.\u003c/p>\n\u003cp>Lest any viewers miss the point of the horrors unfolding, there is a sporadic, authoritative BBC voiceover to move things along. “An explosion… has sucked up this debris and made it radioactive,” it says in the bomb’s immediate aftermath. “The wind has blown it here. This level of attack has broken most of the windows in Britain. Many roofs are open to the sky; some where the lethal dust gets in. In these early stages, the symptoms of radiation sickness and the symptoms of panic are identical.”\u003c/p>\n\u003cp>Following that is a full hour of slow, harrowing deaths, interspersed with civilians being teargassed for wanting supplies, finally culminating in post-apocalyptic nuclear winter, the spread of disease, and a heavy veil of abject, filthy hopelessness. The film ends with a teenage girl having a stillbirth after being raped.\u003c/p>\n\u003cp>\u003cem>Mad Max\u003c/em> and \u003cem>The Road\u003c/em> ain’t got nothin’ on the second hour of this thing.\u003c/p>\n\u003cfigure id=\"attachment_13867086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg\" alt=\"Unlucky survivors of the nuclear bomb in 'Threads'.\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1200x743.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/threads.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Unlucky survivors of the nuclear bomb in ‘Threads.’ \u003ccite>(BBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That \u003cem>Threads\u003c/em> was deemed appropriate viewing for young schoolchildren is unfathomable for a lot of the adults who were forced to watch it the first time around. “I was 13 and I believe the school showed it to us in a Religious Studies lesson,” British father-of-two, Chris West says. “I remember the immediate fear of how real it all looked. Most of the stuff I had seen up until then had been a steady diet of \u003cem>Star Wars\u003c/em> and \u003cem>Superman\u003c/em>, so the gritty British camerawork and acting had a real impact. From that night on, I had night terrors—the most hideous and real nightmares—for years. Sirens I heard in even the daytime would make me stop dead in my tracks.”\u003c/p>\n\u003cp>Like West, Will Jones, 44, had recurring nightmares for a decade after being shown \u003cem>Threads\u003c/em> in English class 30 years ago. “It was terrifying because it was so believable,” he says. “I remember talking about it extensively with friends and hoping it would never happen, but believing it would. I’m not sure it’s fair for teenagers to have this dumped on them.”\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not the first time children were subjected to adult horrors in the course of their school day. In the ’50s and ’60s, there were atomic \u003ca href=\"https://www.youtube.com/watch?v=120wGLgCTkg\" target=\"_blank\" rel=\"noopener\">duck and cover\u003c/a> videos and drills.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/120wGLgCTkg'\n title='//www.youtube.com/embed/120wGLgCTkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, of course, children of all ages in almost all American public schools suffer through \u003ca href=\"https://www.youtube.com/watch?v=mfWCSMkj5A0\" target=\"_blank\" rel=\"noopener\">active shooter drills\u003c/a> on a regular basis—and it’s not without consequence. According to the \u003ca href=\"https://www.nytimes.com/2019/09/04/us/politics/active-shooter-drills-schools.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a>, “Psychologists and many educators say frequent, realistic drills contribute to anxiety and depression in children,” and that “nearly 60 percent of American teenagers said they were very or somewhat worried about a mass shooting at school.”\u003c/p>\n\u003cp>Where \u003cem>Threads\u003c/em> distinguished itself though, is in the fact that it offered no instruction or advice whatsoever. In fact, the film quite emphatically told viewers there was absolutely nothing they could do to stay safe in the event of a nuclear explosion. The best they could hope for was instant death.\u003c/p>\n\u003cp>\u003cem>Threads\u003c/em> was not specifically made for a young audience, nor was it the BBC’s intention for it turn into an educational video for school-aged children. Still, it remains an example of how kids can get caught up in the proverbial crossfire when adults aren’t doing the right thing—something this month’s \u003ca href=\"https://www.kqed.org/arts/13866831/photos-youth-at-san-francisco-climate-strike-demand-action-accountability\" target=\"_blank\" rel=\"noopener\">climate change protesters\u003c/a> can surely relate to.\u003c/p>\n\u003cp>Fortunately for those who saw \u003cem>Threads\u003c/em> in the ’80s, the end of the Cold War, plus time, has enabled some of those once-terrified children to develop a sense of humor about it all. And, in 1984, this surely felt impossible…\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Les Blank Documentaries\u003c/strong>: We’re coming off of a mini heat wave here in the Bay Area, so our first pick is to get inside a cool movie theater for some brilliant documentaries. Specifically, Les Blank’s film \u003cem>Del Mero Corazón\u003c/em>, which traces the history of Tex-Mex and norteño music along the Mexico-U.S. border. Les Blank, of course, was a master documentarian; most people know his film \u003cem>Burden of Dreams\u003c/em>, about the making of Werner Herzog’s \u003cem>Fitzcarraldo\u003c/em>, but his music documentaries are essential. Along with its sister film, \u003cem>Chulas Fronteras\u003c/em>, the films are screening around the Bay Area with in-person intros from Blank’s son, Harrod, and Chris Strachwicz from Arhoolie Records. They’re at the three Rialto locations, the Roxie, and the Rafael Film Center, and they run from Sept. 25–28. \u003ca href=\"https://lesblank.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Rolling Loud\u003c/strong>: This is the biggest rap festival in the country, and it’s returning to Oakland this weekend. Oakland’s own G-Eazy is one of the headliners alongside Migos, Future and Lil Uzi Vert. What we love about Rolling Loud is how their lineup juxtaposes mainstream stars with local artists and underground stars from across the country. Saweetie is definitely on the list of people to see, as well as Vallejo’s Nef the Pharaoh and Berkeley’s Rexx Life Raj. That’s in the Oakland Coliseum parking lot, and runs Saturday and Sunday, Sept. 28-29. \u003ca href=\"http://www.rollingloud.com/home\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Triptych: Eyes of One on Another’\u003c/strong>: Robert Mapplethorpe was not a photographer you come across everyday. Before his death from complications related to AIDS, Mapplethorpe was in the middle of the Reagan-era culture wars with his explicit photos of naked gay men. The musician Bryce Dessner grew up during the controversy, which obviously had a big effect on him; he’s created a multi-sensory show of music, words, and visuals called \u003cem>Triptych: Eyes of One on Another\u003c/em> in homage to Mapplethorpe, with collaborations including Essex Hemphill and Mapplethorpe’s old partner Patti Smith. It runs at Zellerbach Hall in Berkeley on Sept. 28, and also at Stanford’s Memorial Auditorium on Oct. 3. Details \u003ca href=\"https://calperformances.org/performances/2019-20/theater/triptych-eyes-of-one-on-another.php\" rel=\"noopener\" target=\"_blank\">here\u003c/a> and \u003ca href=\"https://live.stanford.edu/calendar/october-2019/triptych-eyes-one-another\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Not Ur Baby 3\u003c/strong>: Not Ur Baby is an Oakland phenomenon. The art show and music showcase is now in its third year, and began as a way for women artists to get together and make a statement against sexism with performers, visual artists and local vendors. They’re all getting together on the sunny patio of 7th West for an all-day art party; proceeds from this year’s event go to Regina’s Door, a vintage boutique that’s also a hub for activists fighting sex trafficking, and VisibiliT, an organization raising money for trans women seeking asylum in the United States. Not Ur Baby is on Sept. 28 at 7th West in Oakland. \u003ca href=\"https://www.kqed.org/arts/13866776/not-ur-baby-returns-in-oakland\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Two Jazz Picks\u003c/strong>: The vibraphonist Bobby Hutcherson made many classic albums for the Blue Note label and lived here, down near Half Moon Bay, before his death in 2016. The drummer Brian Blade pays tribute to Hutcherson, with a great group, in a show at SFJAZZ on Sept. 28. \u003ca href=\"https://www.sfjazz.org/tickets/productions/brian-blade/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. And the Alonzo LINES Ballet has a fascinating collaboration with the tenor saxophonist Charles Llloyd and the pianist Jason Moran; that’s a premiere that runs Oct. 1–6 at YBCA. \u003ca href=\"https://ybca.org/event/lines-fall-season-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Francisco Latino Film Festival\u003c/strong>: This festival wraps up this weekend, and there are a few more days to catch its dramas, thrillers and comedies. One highlight is \u003cem>Dead End\u003c/em>, a whodunit crime movie from Argentinian director Daniel De La Vega; it’s about a writer who ends up as the prime suspect in a murder that eerily resembles the plot of his unpublished novel, shot in a campy film noir style meant to resemble the 1930s and ’40s. The festival also features LGBTQ short films, a documentary about quinceañeras in Texas and more. It runs through Sunday, Sept. 29, at Opera Plaza Cinema and the Roxie Theater. \u003ca href=\"https://sflatinofilmfestival.org/2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Golden Age Hollywood, Film Stars Slid Into Each Others' Telegrams",
"headTitle": "In Golden Age Hollywood, Film Stars Slid Into Each Others’ Telegrams | KQED",
"content": "\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\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=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ingrid Bergman was a so-so typist. Katharine Hepburn’s signature was indecipherable. Marlene Dietrich signed her letter to Ernest Hemingway as “Your Kraut.”\u003c/p>\n\u003cp>A collection of letters, memos, telegrams and other written communiques from the golden age of Hollywood are collected in a new book. \u003cem>Letters from Hollywood\u003c/em>, edited and compiled by Barbara Hall and Rocky Lang, is a delicious peek into very famous people’s private lives.\u003c/p>\n\u003cp>Take Audrey Hepburn. On screen, she was perfection: the bangs, the long cigarette-holder in \u003cem>Breakfast at Tiffany’s\u003c/em>, the lavish hat at Ascot in \u003cem>My Fair Lady\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13867154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867154\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg\" alt=\"In a letter to the director of 'My Fair Lady,' Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in 'Letters from Hollywood.'\" width=\"800\" height=\"1037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-800x1037.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-768x995.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-1020x1322.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa-926x1200.jpg 926w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/lettersfromhollywood_p_p289a_enl-72bffeaf34d442b672b6eba388f42ef7626e72fa.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In a letter to the director of ‘My Fair Lady,’ Audrey Hepburn asks for costume designer Cecil Beaton to send her the designs for her footwear—such that her bootmaker could replicate them. A replication of the note appears in ‘Letters from Hollywood.’ \u003ccite>(Courtesy of Sean Hepburn Ferrer & Luca Dotti/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, after seeing \u003cem>the My Fair Lady\u003c/em> script for the first time, she wrote the director (in perfect schoolgirl penmanship) of her delight.\u003c/p>\n\u003cblockquote>\u003cp>It’s MARVELLOUS, I am beyond myself with happiness and excitement! It is all so good and so solid, warm funny and enchanting. I just pray every day to be as good as the role, or is that too much to ask for? All the wonder of the musical and the play are there, it’s just smashing!\u003c/p>\u003c/blockquote>\n\u003cp>But perfect Audrey, it seems, had bad feet. Hepburn asks for the designer’s sketches of her shoes so that her private bootmaker in Paris can cobble them for the movie.\u003c/p>\n\u003cblockquote>\u003cp>One is an awful lot on ones feet when working—and since my days in the ballet I have had “trouble with me feet” unless properly “shoed.” … It does make all the difference.\u003c/p>\u003c/blockquote>\n\u003cp>“I think it’s the kind of thing that it’s great to learn about an actress,” co-author and film historian Barbara Hall says. “We think of them—sort of put them on a pedestal, but really, she was a regular person, and obviously a very charming one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, she was a great star who knew what she needed to do her best work.\u003c/p>\n\u003cp>Bette Davis was also like that. A winner of two Oscars, she’s \u003ca href=\"https://www.youtube.com/watch?v=LPPJdOGshUM\">famous for the immortal line\u003c/a> from \u003cem>All About Eve\u003c/em>: “Fasten your seatbelts. It’s going to be a bumpy night.”\u003c/p>\n\u003cp>Years before \u003cem>Eve\u003c/em>, Bette Davis was exhausted, overworked. Hollywood studios controlled their actors in those days, and there was little rest for Warner Brothers’ biggest star.\u003c/p>\n\u003cp>“They just kept putting her in more and more films,” Hall says. “And she felt like she needed more time between projects.”\u003c/p>\n\u003cp>Davis wanted to make fewer pictures every year—more time off between movies. So she wrote (again, by hand) to studio head Jack Warner, protesting her contract. She ended her very firm letter:\u003c/p>\n\u003cblockquote>\u003cp>Would appreciate your not communicating with me—it upsets me very much. I must be allowed to completely forget business. … Also arguing with me is no use—nor do I want to come back until it is settled—\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13867163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13867163\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg\" alt=\"‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich.\" width=\"400\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/9781419738098_vert-7bbdaba24c3e706b9c2cd6742b89d419a9554094-s600-c85-160x219.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘Letters from Hollywood’ by Rocky Lang, Barbara Hall and Peter Bogdanovich. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another letter-writer in this collection is Hattie McDaniel, the first African American to win an Oscar (for best supporting actress) as Mammy in 1939’s \u003cem>Gone with the Wind\u003c/em>.\u003c/p>\n\u003cp>McDaniel was a busy actor in the 1930s and ’40s—always playing a maid or servant. In 1947, she thanked gossip columnist Hedda Hopper for printing kind words about her. But others criticized her for taking so many servant roles. McDaniel wrote:\u003c/p>\n\u003cblockquote>\u003cp>Truly, a maid or butler in real life is making an honest dollar, just as we are on the screen. I only hope that producers will give us Negro actors and actresses more roles, even if there will be those who call us Uncle Toms.\u003c/p>\u003c/blockquote>\n\u003cp>The NAACP and other civil rights organizations had started pressuring studios to get rid of stereotypical roles like McDaniel was playing—the only parts African Americans could get then. The protests had a bitter result for the Oscar-winner: Hattie McDaniel found that she was getting fewer and fewer roles in the immediate postwar years, because they weren’t being written.\u003c/p>\n\u003cp>Among the 137 items in this book is a telegram to director William Wyler, sent in 1937 by an extremely precocious star-to-be.\u003c/p>\n\u003cblockquote>\u003cp>I ADMIRE YOUR PICTURES AND WOULD LIKE TO WORK FOR YOU I AM EIGHTEEN MINUTES OLD BLONDE HAIR BLUE EYES WEIGHT EIGHT POUNDS, AND I HAVE BEEN CALLED BEAUTIFUL MY FATHER WAS AN ACTOR=\u003cbr>\nJAYNE SEYMOUR FONDA.\u003c/p>\u003c/blockquote>\n\u003cp>The real author of the telegram was Henry Fonda—Jane Fonda’s father. So in his reply to the new baby, Wyler wrote that he wanted to make a screen test of her as soon as possible. But he also took a playful shot at her dad: “WE FEEL IT OUR DUTY TO CORRECT ANY ILLUSION YOU MAY HAVE BEEN UNDER IN THE PAST … YOUR FATHER NEVER WAS AN ACTOR.”\u003c/p>\n\u003cp>\u003cem>Letters from Hollywood \u003c/em>is subtitled \u003cem>Inside the Private World of Classic American Moviemaking\u003c/em>. These are very personal letters from stars, directors, heads of studios. So is it an invasion of privacy to publish them?\u003c/p>\n\u003cp>“I don’t think so,” says Peter Bogdanovich, the director, writer, actor, film historian and author of the book’s foreword. “It’s history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast.\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=In+Golden+Age+Hollywood%2C+Film+Stars+Slid+Into+Each+Others%27+Telegrams&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! SF Green Film Festival Brings It All Back Home",
"headTitle": "Now Playing! SF Green Film Festival Brings It All Back Home | KQED",
"content": "\u003cp>The simple, brilliant theme of the 2019 \u003ca href=\"https://www.greenfilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Green Film Festival\u003c/a>, which opens Wednesday, Sept. 24 at the Castro, is home. Brilliant, because our environment is wherever we live. While we’re concerned about the plastic-poisoned oceans, the burning rainforest, the fracked Northeast, they are (mostly) far away. As for the lovely sentiment that Planet Earth is humankind’s one and only home, that’s either too existential or too abstract to galvanize most of us.\u003c/p>\n\u003cp>But our house, our street, our neighborhood, our city—nothing is more real or more tangible. That reality underpins Fredrik Gertten’s quietly inspiring and quietly damning opening night film, \u003cem>Push\u003c/em>, which tracks UN Special Rapporteur Leilani Farah’s efforts to defend the international right to housing against—she discovers—The Blackstone Group and similar real estate vulture capitalists. Farah and Gertten are expected to attend. \u003c/p>\n\u003cfigure id=\"attachment_13866951\" 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/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg\" alt=\"Still from Fredrik Gertten's 'Push' with Leilani Farah. \" width=\"1200\" height=\"633\" class=\"size-full wp-image-13866951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-1020x538.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Fredrik Gertten’s ‘Push’ with Leilani Farah. \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Push\u003c/em> exposes something much more calculated and nefarious than creeping gentrification, but we can’t ignore the tech boom’s effects on the Bay Area landscape. Local filmmaker Dan Goldes’ generous and revelatory documentary, \u003cem>Five Blocks\u003c/em>, which receives its world premiere Sunday, Sept. 29 at 1pm the Roxie, gives voice to almost every conceivable stakeholder in the planning and redevelopment of mid-Market over the last decade.\u003c/p>\n\u003cp>There aren’t any villains in \u003cem>Five Blocks\u003c/em>—curses, foiled again!—but rather an appreciation for messy, complicated urban planning. For example, the construction of BART under Market St. in the ’60s had the side effect of destroying a shopping corridor and pushing businesses out. A terrible thing, but there was no place else in San Francisco that was wide enough to accommodate the tunnel. Can you imagine getting around the Bay today without BART?\u003c/p>\n\u003cfigure id=\"attachment_13866952\" 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/Photo-2-Lake_Mead_bathtub_ring_1200.jpg\" alt=\"Still from Christopher Beaver's 'Once Was Water.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13866952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Beaver’s ‘Once Was Water.’ \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another eye-opening local doc, Christopher Beaver and Diana Fuller’s \u003cem>Once Was Water\u003c/em> (its California premiere is Sunday, Sept. 29 at 6pm at the Roxie), cleverly digs below the surface to uncover the strategies and techniques that the desert playground of Las Vegas uses to conserve and recycle water. (Making visitors feel guilty for using water isn’t one of them. Didn’t you know Las Vegas is the guilt-free capitol of the U.S.?)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The throughlines that connect these three films, along with several others in the SF Green Film Festival, are optimism and activism. Solutions exist, close to home, and more and more people are involved. A movie may not change the world, but it can cultivate community.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The simple, brilliant theme of the 2019 \u003ca href=\"https://www.greenfilmfest.org\" rel=\"noopener\" target=\"_blank\">San Francisco Green Film Festival\u003c/a>, which opens Wednesday, Sept. 24 at the Castro, is home. Brilliant, because our environment is wherever we live. While we’re concerned about the plastic-poisoned oceans, the burning rainforest, the fracked Northeast, they are (mostly) far away. As for the lovely sentiment that Planet Earth is humankind’s one and only home, that’s either too existential or too abstract to galvanize most of us.\u003c/p>\n\u003cp>But our house, our street, our neighborhood, our city—nothing is more real or more tangible. That reality underpins Fredrik Gertten’s quietly inspiring and quietly damning opening night film, \u003cem>Push\u003c/em>, which tracks UN Special Rapporteur Leilani Farah’s efforts to defend the international right to housing against—she discovers—The Blackstone Group and similar real estate vulture capitalists. Farah and Gertten are expected to attend. \u003c/p>\n\u003cfigure id=\"attachment_13866951\" 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/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg\" alt=\"Still from Fredrik Gertten's 'Push' with Leilani Farah. \" width=\"1200\" height=\"633\" class=\"size-full wp-image-13866951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Leilani_Valparaiso.Photo_Janice_dAvila_1200-1020x538.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Fredrik Gertten’s ‘Push’ with Leilani Farah. \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Push\u003c/em> exposes something much more calculated and nefarious than creeping gentrification, but we can’t ignore the tech boom’s effects on the Bay Area landscape. Local filmmaker Dan Goldes’ generous and revelatory documentary, \u003cem>Five Blocks\u003c/em>, which receives its world premiere Sunday, Sept. 29 at 1pm the Roxie, gives voice to almost every conceivable stakeholder in the planning and redevelopment of mid-Market over the last decade.\u003c/p>\n\u003cp>There aren’t any villains in \u003cem>Five Blocks\u003c/em>—curses, foiled again!—but rather an appreciation for messy, complicated urban planning. For example, the construction of BART under Market St. in the ’60s had the side effect of destroying a shopping corridor and pushing businesses out. A terrible thing, but there was no place else in San Francisco that was wide enough to accommodate the tunnel. Can you imagine getting around the Bay today without BART?\u003c/p>\n\u003cfigure id=\"attachment_13866952\" 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/Photo-2-Lake_Mead_bathtub_ring_1200.jpg\" alt=\"Still from Christopher Beaver's 'Once Was Water.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13866952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-2-Lake_Mead_bathtub_ring_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Christopher Beaver’s ‘Once Was Water.’ \u003ccite>(Image courtesy of Green Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another eye-opening local doc, Christopher Beaver and Diana Fuller’s \u003cem>Once Was Water\u003c/em> (its California premiere is Sunday, Sept. 29 at 6pm at the Roxie), cleverly digs below the surface to uncover the strategies and techniques that the desert playground of Las Vegas uses to conserve and recycle water. (Making visitors feel guilty for using water isn’t one of them. Didn’t you know Las Vegas is the guilt-free capitol of the U.S.?)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The throughlines that connect these three films, along with several others in the SF Green Film Festival, are optimism and activism. Solutions exist, close to home, and more and more people are involved. A movie may not change the world, but it can cultivate community.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman",
"headTitle": "A New Book About Meryl Streep Will Remind You to Despise Dustin Hoffman | KQED",
"content": "\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=84DpXtxtyNg\u003c/p>\n\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-vuyZrZxn9Y\u003c/p>\n\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Queen Meryl\u003c/em> goes on sale Sept. 24.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.amazon.com/Queen-Meryl-Iconic-Heroic-Legendary/dp/0316485276\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep\u003c/em>\u003c/a> is not a book of particularly stirring revelations. Rather, author Erin Carlson has lifted details about Streep from a huge number of magazine articles, online pieces, books, television appearances and radio shows and strung them together to sum up her life, as succinctly as possible. For the most part, it’s all pretty straightforward stuff—except, that is, when it comes to the details in Chapter 2 regarding Dustin Hoffman.\u003c/p>\n\u003cfigure id=\"attachment_13866521\" class=\"wp-caption alignright\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866521\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg\" alt=\"'Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep' by Erin Carlson.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/51JalseWxhL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Queen Meryl: The Iconic Roles, Heroic Deeds and Legendary Life of Meryl Streep’ by Erin Carlson. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s impossible to read about all the ways Dustin Hoffman has apparently abused Streep over the years, condensed into a few pages, without developing an intense dislike for Hoffman and a new level of respect for Streep.\u003c/p>\n\u003cp>The book reports that when Streep was still a student at Yale, during an audition for a Broadway play directed by Hoffman, \u003ca href=\"https://www.independent.co.uk/arts-entertainment/films/news/meryl-streep-responds-to-claims-dustin-hoffman-groped-her-a8043276.html\" target=\"_blank\" rel=\"noopener noreferrer\">he groped her\u003c/a> breast the moment they met. Though Streep originally revealed this information in a 1979 issue of \u003cem>Time\u003c/em>, a representative for Streep told \u003ca href=\"https://www.eonline.com/news/892012/meryl-streep-says-she-s-accepted-dustin-hoffman-s-apology-for-1970s-groping-offense\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>E! News\u003c/em> \u003c/a>in 2017 that the groping story was “not an accurate rendering of that meeting,” while also conceding that, “there was an offense and it is something for which Dustin apologized. And Meryl accepted that.”\u003c/p>\n\u003cp>It’s the torrent of other offenses that Hoffman reportedly unleashed during the filming of 1979’s \u003cem>Kramer vs. Kramer\u003c/em>, however, that truly paints a dark picture of his behavior on set. As previously reported in the \u003ca href=\"https://www.nytimes.com/2018/01/03/movies/meryl-streep-tom-hanks-the-post-metoo.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>, the movie was only two days into filming when Hoffman, during a fraught scene of their on-screen marriage breaking down, slapped Streep across the face so hard that it left, according to \u003cem>Queen Meryl\u003c/em>, “enormous red finger marks.” The book reports that the moment rendered writer/director Robert Benton “in shock.” Still, Streep managed to finish the scene. (The slap did not make it into the final cut of the movie.)\u003c/p>\n\u003cp>To make matters worse, in the course of filming that same sequence, Hoffman \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">tried to provoke\u003c/a> Streep by flinging barbs at her about her recently deceased boyfriend, \u003ca href=\"https://en.wikipedia.org/wiki/John_Cazale\" target=\"_blank\" rel=\"noopener noreferrer\">John Cazale\u003c/a>, who had died of lung cancer just months prior. “Such was his warped approach to get under Meryl’s skin and elicit the performance that \u003cem>he\u003c/em> wanted,” \u003cem>Queen Meryl\u003c/em> notes. (Hoffman is also said to have whispered Cazale’s name to Streep right before an emotional courtroom scene.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book also quotes Hoffman (from a \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1982/12/17/scenes-from-the-battle-of-the-sexes/25d67e7d-4ee7-4830-9253-219686a688b9/\" target=\"_blank\" rel=\"noopener noreferrer\">1982 interview\u003c/a> with \u003cem>The Washington Post\u003c/em>) being almost proud of the fact that he resented script changes Streep made (and that Benton supported), and acted out because of it:\u003c/p>\n\u003cblockquote>\u003cp>“I finally yelled at her, ‘Meryl, why don’t you stop carrying the flag for feminism and just act the scene!’ She got furious. That’s the scene where I throw the glass of wine against the wall and it shatters. That wasn’t in the script, I just threw it at her. Then she got furious again. ‘I’ve got pieces of glass in my hair!’ and so on.”\u003c/p>\u003c/blockquote>\n\u003cp>All that considered, it’s remarkable to read how gracious Streep was to Hoffman when she won the Best Supporting Actress Oscar for her role as Joanna Kramer. Hoffman was the first person she thanked in her acceptance speech, she gave him a kiss on the cheek on her way to the podium and, during her speech, she referred to the making of the film as a “very, very delightful experience.”\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/84DpXtxtyNg'\n title='//www.youtube.com/embed/84DpXtxtyNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the years since, as her own career has developed, Streep has not held back in the same way she once did. Delightfully, \u003cem>Queen Meryl\u003c/em> includes a panel titled: “SOME SHIT MERYL SAID ABOUT DUSTIN HOFFMAN.” One of the funniest quotes is as follows: “What Dustin really wants to do, you know, is give birth. But he’s still glad he’s got a penis.” That same section of the book also includes a hilarious description of what Streep said during a game of “Shag, Marry, Kill” on a 2012 episode of \u003cem>Watch What Happens Live—\u003c/em>which, handily, you can see below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-vuyZrZxn9Y'\n title='//www.youtube.com/embed/-vuyZrZxn9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Decades after \u003cem>Kramer vs. Kramer\u003c/em> was released, new stories about Hoffman’s boorish behavior on set began to trickle out from other sources. According to a \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">2016 \u003cem>Vanity Fair\u003c/em> article\u003c/a>, actress Gail Strickland was fired from \u003cem>Kramer vs. Kramer\u003c/em> after Hoffman intimidated her until she couldn’t stop stuttering on camera. Her replacement, Jane Alexander, later recalled Hoffman calling her a “f-cking fool.” Not even 7-year-old Justin Henry, who played the Kramers’ son, was spared: Hoffman would reportedly force Henry to cry by making the boy think of upsetting scenarios regarding his friends and pet dog, after which Henry would sob when the scenes were over.\u003c/p>\n\u003cp>Though \u003cem>Queen Meryl\u003c/em> doesn’t talk about it, the book serves as an indirect reminder of the slew of #MeToo allegations about Hoffman that emerged in 2017. Those allegations include sexually assaulting \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#pauline-said-hoffman-exposed-himself-to-her-when-she-was-15-7\" target=\"_blank\" rel=\"noopener noreferrer\">two of his \u003cem>Ishtar\u003c/em> co-stars\u003c/a>; flashing a \u003ca href=\"https://www.businessinsider.com/women-who-have-accused-dustin-hoffman-of-sexual-misconduct-list-2017-12#cori-thomas-said-that-hoffman-exposed-himself-to-her-when-she-was-16-years-old-4\" target=\"_blank\" rel=\"noopener noreferrer\">16-year-old friend\u003c/a> of his daughter; masturbating in front of a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">15-year-old\u003c/a> department store employee; sexually harassing and groping a \u003ca href=\"https://www.hollywoodreporter.com/features/dustin-hoffman-sexually-harassed-me-i-was-17-guest-column-1053466\" target=\"_blank\" rel=\"noopener noreferrer\">17-year-old production assistant;\u003c/a> sexually harassing and repeatedly groping \u003ca href=\"https://www.hollywoodreporter.com/news/new-dustin-hoffman-accuser-claims-harassment-physical-violation-broadway-guest-column-1062349\" target=\"_blank\" rel=\"noopener noreferrer\">co-star Kathryn Rossetter\u003c/a> (an experience she called “horrific, demoralizing and abusive”); groping \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">Katharine Ross\u003c/a> during a screen test for \u003cem>The Graduate\u003c/em>; refusing to let a \u003ca href=\"https://www.hollywoodreporter.com/news/five-dustin-hoffman-accusers-tell-harrowing-stories-sexually-predatory-behavior-1055544\" target=\"_blank\" rel=\"noopener noreferrer\">21-year-old tour guide\u003c/a> leave his hotel room until she granted him sexual contact; and propositioning writer \u003ca href=\"https://variety.com/2017/film/news/dustin-hoffman-sexual-harassment-1202604822/\" target=\"_blank\" rel=\"noopener noreferrer\">Wendy Riss\u003c/a> during a business meeting. Hoffman has \u003ca href=\"https://www.rollingstone.com/movies/movie-news/watch-john-oliver-press-dustin-hoffman-on-sexual-misconduct-allegations-116883/\" target=\"_blank\" rel=\"noopener noreferrer\">repeatedly denied\u003c/a> the accusations.\u003c/p>\n\u003cp>All things considered, it remains a testament to Meryl Streep that, even at age 29, she was able to thrive in her \u003cem>Kramer vs. Kramer\u003c/em> role, despite Hoffman’s outbursts, unpleasantries and aggressions. “This picture started out belonging to Ted Kramer, and by the end it belonged to both of them,” \u003ca href=\"https://www.vanityfair.com/hollywood/2016/03/meryl-streep-kramer-vs-kramer-oscar\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Benton told\u003c/a> \u003cem>Vanity Fair\u003c/em>. “And there was no way Dustin could shake her. No way he could do anything to shake her. She was just there, and she was an incredible force.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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