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"content": "\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\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/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Peter Fonda, the son of a Hollywood legend who became a movie star in his own right both writing and starring in counterculture classics like “Easy Rider,” has died. His family says in a statement that Fonda died Friday morning at his home in Los Angeles. He was 79.\u003c/p>\n\u003cp>The official cause of death was respiratory failure due to lung cancer.\u003c/p>\n\u003cp>Born into Hollywood royalty as Henry Fonda’s only son, Peter Fonda carved his own path with his non-conformist tendencies and earned an Oscar nomination for co-writing “Easy Rider.” He never won an Oscar but would later be nominated for best actor in “Ulee’s Gold.”\u003c/p>\n\u003cdiv class=\"Article\">\n\u003cp>The family says this is one of the saddest moments of their lives and asks for privacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'After the Wedding,' Family Melodrama with No Heroes—And No Villains",
"headTitle": "In ‘After the Wedding,’ Family Melodrama with No Heroes—And No Villains | KQED",
"content": "\u003cp>Before I spoke with Bart Freundlich about his new film \u003cem>After the Wedding\u003c/em>, I listened to a short review \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/campaign-season-kicks-off-with-iowa-state-fair/dora-and-the-lost-city-of-gold-is-worthy-only-of-silver\" target=\"_blank\" rel=\"noopener\">on KCRW’s Press Play\u003c/a>. The host of the program and her guests, two film critics, summed up the movie as an opportunity for the actors—including Michelle Williams and Freundlich’s wife Julianne Moore—to emote. There was a collective eye roll implicit in their critique.\u003c/p>\n\u003cp>In the film, Williams’ character Isabel runs an orphanage in India. She’s on her way to New York to ask Moore’s Theresa, a media mogul, for a donation. When they meet in person, Isabel’s past sways Theresa’s decision and clues us into the movie’s tagline, “Every family has a secret.” (Freundlich’s \u003cem>After the Wedding\u003c/em> is a remake of Danish filmmaker Susanne Bier’s 2006 \u003ca href=\"https://en.wikipedia.org/wiki/After_the_Wedding_(2006_film)\" target=\"_blank\" rel=\"noopener\">film\u003c/a> of the same name, swapping the lead male characters for leading ladies.)\u003c/p>\n\u003cp>\u003cem>After the Wedding \u003c/em>opens while the number one film at the American box office is the hyper-masculine (or is it the ne plus ultra masculine?) buddy movie \u003cem>Hobbs & Shaw\u003c/em>. In a cinematic ecosystem that rewards fast cars and bulging biceps, the critics on Press Play suggested audiences wouldn’t have the patience to sit through this kind of melodrama.\u003c/p>\n\u003cp>In a phone interview, Freundlich talked about how he handles criticism (“Earnest movies sometimes have a harder time with reviews”), why he decided to remake the original and how something beautiful can also be real.\u003c/p>\n\u003cfigure id=\"attachment_13864144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2.jpg\" alt=\"L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography).\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography). \u003ccite>(Photo by Elizabeth Fisher; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an expectation that it should have been grittier?\u003c/strong>\u003c/p>\n\u003cp>There might have been a feeling that the gloss of some of the film, the high profile of the actors, could take away from the deeper, more subtle meaning. Or didn’t encourage you to look as hard, or possibly that my intention was to glaze over something, as opposed to telling a story.\u003c/p>\n\u003cp>When, in fact, what I love about this story is that there are no heroes in the movie, and that there are no villains. There’s no judgment, that, as the filmmaker, I’m against any of these characters. It’s much more true to life, where we make decisions and then those consequences tend to play out and are pretty rough.\u003c/p>\n\u003cp>\u003cstrong>You make a point of showing how both Isabel and Theresa are different in public than who they are in private.\u003c/strong>\u003c/p>\n\u003cp>That’s something that books can do, but cinema does beautifully. It lets you see how people present themselves to the world, and then lets you see these private moments, and they don’t all have to necessarily be narrated. You get to do a lot of projection, literally, onto these characters.\u003c/p>\n\u003cp>I was also interested in the way in which our pasts inform the way we think the world has to work. How we assume it works, and then how that helps to form our defense mechanisms, our loves and the things that we pursue.\u003c/p>\n\u003cfigure id=\"attachment_13864150\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/6.jpg\" alt=\"L to R: Vir Pachisia as Jai, Michelle Williams as Isabel.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Vir Pachisia as Jai, Michelle Williams as Isabel. \u003ccite>(Photo by Kevin Nunes; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You bookend the film with the protagonists looking in mirrors, that trope used in film noir and classic melodramas. But you keep the camera as a medium shot. Why didn’t you go in for close-ups?\u003c/strong>\u003c/p>\n\u003cp>It felt reductive to me, once you saw the actual expressions. We did cover those things tight, so I wasn’t against the idea of using them. But what ended up happening, as the editor Joe Krings and I cut the movie, was those two moments, were much more about the fact that these people were perceiving themselves, Isabel and Theresa, how much they were willing to look at themselves, and look beyond the image they were seeing.\u003c/p>\n\u003cp>Especially with Isabel at the end, because she was willing to stand still and look at herself for the first time. She tends to look out at the rest of the world. Her introspection is through her meditation, and that’s how she explores her inner life that way, but really doesn’t want to see who she is in reality, including all the decisions she’s made in her past.\u003c/p>\n\u003cfigure id=\"attachment_13864145\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/4.jpg\" alt=\"L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young. \u003ccite>(Photo by Julio Macat; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Earlier you mentioned that there was no hero, but Theresa, the millionaire media mogul, is put in the position of being an American savior. Why did you place the characters in such extreme socioeconomic positions?\u003c/strong>\u003c/p>\n\u003cp>My intention was certainly not to paint Theresa as the hero. I think on the outside, you could write an essay about why she is the hero, but you could also write that about Isabel and Oscar [Theresa’s husband, played by Billy Crudup].\u003c/p>\n\u003cp>I felt that it was an effective part of Susanne Bier’s film, to depict these two very, very disparate worlds. I certainly wasn’t intending to say anything about who is more valuable—someone who gives their time and soul to a place, or someone who just gives money. Or, who can be happier.\u003c/p>\n\u003cp>I know that Julianne does as well, but I view Theresa as an extremely morally and ethically compromised person. She’s doing something that’s fairly fraught and selfish. It seems that she’s doing it out of entitlement because of her place in the business world. But ultimately I think she’s just doing it out of desperation. She just happens to have the power.\u003c/p>\n\u003cfigure id=\"attachment_13864148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864148 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Center: Billy Crudup as Oscar Carlson. (Photo by David Giesbrecht. Courtesy Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This is your third film with Billy Crudup. What’s your working relationship like?\u003c/strong>\u003c/p>\n\u003cp>After Billy saw the first film that we made, \u003cem>World Traveler\u003c/em>, I remember he came up to me right after the screening and said, “This is exactly the kind of film I want to be in.” I loved the way he said it, because it wasn’t like, “I loved it,” or “We did it,” or “That’s my best performance.” It was just like yeah, what you’re aiming for and what you’re searching for, I’m interested in being along with you on that journey, and trying to get there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sonyclassics.com/afterthewedding/\" target=\"_blank\" rel=\"noopener\">After the Wedding’\u003c/a> opens Friday, Aug. 16 at Landmark’s Embarcadero Center Cinema in San Francisco and at CinéArts at Palo Alto Square in Palo Alto.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before I spoke with Bart Freundlich about his new film \u003cem>After the Wedding\u003c/em>, I listened to a short review \u003ca href=\"https://www.kcrw.com/news/shows/press-play-with-madeleine-brand/campaign-season-kicks-off-with-iowa-state-fair/dora-and-the-lost-city-of-gold-is-worthy-only-of-silver\" target=\"_blank\" rel=\"noopener\">on KCRW’s Press Play\u003c/a>. The host of the program and her guests, two film critics, summed up the movie as an opportunity for the actors—including Michelle Williams and Freundlich’s wife Julianne Moore—to emote. There was a collective eye roll implicit in their critique.\u003c/p>\n\u003cp>In the film, Williams’ character Isabel runs an orphanage in India. She’s on her way to New York to ask Moore’s Theresa, a media mogul, for a donation. When they meet in person, Isabel’s past sways Theresa’s decision and clues us into the movie’s tagline, “Every family has a secret.” (Freundlich’s \u003cem>After the Wedding\u003c/em> is a remake of Danish filmmaker Susanne Bier’s 2006 \u003ca href=\"https://en.wikipedia.org/wiki/After_the_Wedding_(2006_film)\" target=\"_blank\" rel=\"noopener\">film\u003c/a> of the same name, swapping the lead male characters for leading ladies.)\u003c/p>\n\u003cp>\u003cem>After the Wedding \u003c/em>opens while the number one film at the American box office is the hyper-masculine (or is it the ne plus ultra masculine?) buddy movie \u003cem>Hobbs & Shaw\u003c/em>. In a cinematic ecosystem that rewards fast cars and bulging biceps, the critics on Press Play suggested audiences wouldn’t have the patience to sit through this kind of melodrama.\u003c/p>\n\u003cp>In a phone interview, Freundlich talked about how he handles criticism (“Earnest movies sometimes have a harder time with reviews”), why he decided to remake the original and how something beautiful can also be real.\u003c/p>\n\u003cfigure id=\"attachment_13864144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/2.jpg\" alt=\"L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography).\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/2-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Bart Freundlich (Director) and Julio Macat (Director of Photography). \u003ccite>(Photo by Elizabeth Fisher; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Was there an expectation that it should have been grittier?\u003c/strong>\u003c/p>\n\u003cp>There might have been a feeling that the gloss of some of the film, the high profile of the actors, could take away from the deeper, more subtle meaning. Or didn’t encourage you to look as hard, or possibly that my intention was to glaze over something, as opposed to telling a story.\u003c/p>\n\u003cp>When, in fact, what I love about this story is that there are no heroes in the movie, and that there are no villains. There’s no judgment, that, as the filmmaker, I’m against any of these characters. It’s much more true to life, where we make decisions and then those consequences tend to play out and are pretty rough.\u003c/p>\n\u003cp>\u003cstrong>You make a point of showing how both Isabel and Theresa are different in public than who they are in private.\u003c/strong>\u003c/p>\n\u003cp>That’s something that books can do, but cinema does beautifully. It lets you see how people present themselves to the world, and then lets you see these private moments, and they don’t all have to necessarily be narrated. You get to do a lot of projection, literally, onto these characters.\u003c/p>\n\u003cp>I was also interested in the way in which our pasts inform the way we think the world has to work. How we assume it works, and then how that helps to form our defense mechanisms, our loves and the things that we pursue.\u003c/p>\n\u003cfigure id=\"attachment_13864150\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/6.jpg\" alt=\"L to R: Vir Pachisia as Jai, Michelle Williams as Isabel.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/6-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Vir Pachisia as Jai, Michelle Williams as Isabel. \u003ccite>(Photo by Kevin Nunes; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You bookend the film with the protagonists looking in mirrors, that trope used in film noir and classic melodramas. But you keep the camera as a medium shot. Why didn’t you go in for close-ups?\u003c/strong>\u003c/p>\n\u003cp>It felt reductive to me, once you saw the actual expressions. We did cover those things tight, so I wasn’t against the idea of using them. But what ended up happening, as the editor Joe Krings and I cut the movie, was those two moments, were much more about the fact that these people were perceiving themselves, Isabel and Theresa, how much they were willing to look at themselves, and look beyond the image they were seeing.\u003c/p>\n\u003cp>Especially with Isabel at the end, because she was willing to stand still and look at herself for the first time. She tends to look out at the rest of the world. Her introspection is through her meditation, and that’s how she explores her inner life that way, but really doesn’t want to see who she is in reality, including all the decisions she’s made in her past.\u003c/p>\n\u003cfigure id=\"attachment_13864145\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/4.jpg\" alt=\"L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/4-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Billy Crudup as Oscar Carlson, Abby Quinn as Grace Carlson, Julianne Moore as Theresa Young. \u003ccite>(Photo by Julio Macat; Courtesy Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Earlier you mentioned that there was no hero, but Theresa, the millionaire media mogul, is put in the position of being an American savior. Why did you place the characters in such extreme socioeconomic positions?\u003c/strong>\u003c/p>\n\u003cp>My intention was certainly not to paint Theresa as the hero. I think on the outside, you could write an essay about why she is the hero, but you could also write that about Isabel and Oscar [Theresa’s husband, played by Billy Crudup].\u003c/p>\n\u003cp>I felt that it was an effective part of Susanne Bier’s film, to depict these two very, very disparate worlds. I certainly wasn’t intending to say anything about who is more valuable—someone who gives their time and soul to a place, or someone who just gives money. Or, who can be happier.\u003c/p>\n\u003cp>I know that Julianne does as well, but I view Theresa as an extremely morally and ethically compromised person. She’s doing something that’s fairly fraught and selfish. It seems that she’s doing it out of entitlement because of her place in the business world. But ultimately I think she’s just doing it out of desperation. She just happens to have the power.\u003c/p>\n\u003cfigure id=\"attachment_13864148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13864148 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Center: Billy Crudup as Oscar Carlson. (Photo by David Giesbrecht. Courtesy Sony Pictures Classics)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>This is your third film with Billy Crudup. What’s your working relationship like?\u003c/strong>\u003c/p>\n\u003cp>After Billy saw the first film that we made, \u003cem>World Traveler\u003c/em>, I remember he came up to me right after the screening and said, “This is exactly the kind of film I want to be in.” I loved the way he said it, because it wasn’t like, “I loved it,” or “We did it,” or “That’s my best performance.” It was just like yeah, what you’re aiming for and what you’re searching for, I’m interested in being along with you on that journey, and trying to get there.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.sonyclassics.com/afterthewedding/\" target=\"_blank\" rel=\"noopener\">After the Wedding’\u003c/a> opens Friday, Aug. 16 at Landmark’s Embarcadero Center Cinema in San Francisco and at CinéArts at Palo Alto Square in Palo Alto.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’",
"headTitle": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’ | KQED",
"content": "\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>[pullquote size='large']He resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.[/pullquote]\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Film history is filled to the brim with depictions of fictional painters and sculptors (personal fave: Julianne Moore in \u003ci>The Big Lebowski\u003c/i>), performance artists and oh-so-many aspiring filmmakers, but where are all the ceramicists?\u003c/p>\n\u003cp>Please see \u003ci>Ghost\u003c/i>. No, please. See \u003ci>Ghost\u003c/i>. Released in 1990, the supernatural thriller/love story includes possibly the most famous scene of ceramics in action, courtesy of Demi Moore’s character throwing some clay in the middle of the night.\u003c/p>\n\u003cp>Who should join her to the sound of the Righteous Brother’s “Unchained Melody,” offering to “help” make a vessel? Why, a shirtless Patrick Swayze, of course. (Spoiler: They don’t have a future as a collaborative artist duo.)\u003c/p>\n\u003cp>But the Oakland artist collective \u003ca href=\"http://mutualstores.online/\" rel=\"noopener\" target=\"_blank\">Mutual Stores\u003c/a> doesn’t seem to mind. On Saturday, Aug. 17 they’ll screen \u003ci>Ghost\u003c/i> in their backyard garden (doors at 6pm, movie at sundown, a.k.a. 8:30pm), the second in an ongoing series of movie nights they promise will deliver “art films to classic American kitsch” (\u003ci>Ghost\u003c/i> is, of course, the latter). \u003c/p>\n\u003cp>It’s also a great opportunity to meet Mutual Stores’ organizers (the space was founded by Rosa Novak, Brendan Page and Kate Pruitt) and learn more about their events (brick-making workshops! clay days!), gallery space and residency program—which is dedicated to developing sustainable systems by offering artists the studio’s ceramic waste as a raw material. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And if you find yourself inspired by the aforementioned scene, the Mutual Stores folks might know where you can sign up for some pottery classes. \u003ci>—Sarah Hotchkiss\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film history is filled to the brim with depictions of fictional painters and sculptors (personal fave: Julianne Moore in \u003ci>The Big Lebowski\u003c/i>), performance artists and oh-so-many aspiring filmmakers, but where are all the ceramicists?\u003c/p>\n\u003cp>Please see \u003ci>Ghost\u003c/i>. No, please. See \u003ci>Ghost\u003c/i>. Released in 1990, the supernatural thriller/love story includes possibly the most famous scene of ceramics in action, courtesy of Demi Moore’s character throwing some clay in the middle of the night.\u003c/p>\n\u003cp>Who should join her to the sound of the Righteous Brother’s “Unchained Melody,” offering to “help” make a vessel? Why, a shirtless Patrick Swayze, of course. (Spoiler: They don’t have a future as a collaborative artist duo.)\u003c/p>\n\u003cp>But the Oakland artist collective \u003ca href=\"http://mutualstores.online/\" rel=\"noopener\" target=\"_blank\">Mutual Stores\u003c/a> doesn’t seem to mind. On Saturday, Aug. 17 they’ll screen \u003ci>Ghost\u003c/i> in their backyard garden (doors at 6pm, movie at sundown, a.k.a. 8:30pm), the second in an ongoing series of movie nights they promise will deliver “art films to classic American kitsch” (\u003ci>Ghost\u003c/i> is, of course, the latter). \u003c/p>\n\u003cp>It’s also a great opportunity to meet Mutual Stores’ organizers (the space was founded by Rosa Novak, Brendan Page and Kate Pruitt) and learn more about their events (brick-making workshops! clay days!), gallery space and residency program—which is dedicated to developing sustainable systems by offering artists the studio’s ceramic waste as a raw material. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Abbas Kiarostami’s Genius of the Everyday",
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"content": "\u003cp>Cinema, more than the other arts, has been coopted for the purpose of entertainment. Given the costs of producing movies, it was inevitable from the beginning. (Crowd-pleasing fare is the time-tested way studios procure profits and investors recoup repayment.) Is it kind of ridiculous to raise a finger in protest against middlebrow movies at this point in the summer? Guilty as charged.\u003c/p>\n\u003cp>Still, can we talk about the nobler goals that movies can aspire to? Can I use words like “profound” and “philosophical” and “sublime” and “uncompromising?” Can we reconnect with the understated genius of the late filmmaker Abbas Kiarostami?\u003c/p>\n\u003cp>The Iranian director, who honed his singular technique of blending realty and fiction in an array of shorts and documentaries in the 1970s and ’80s, earned his first recognition in the West in 1987 with \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/tribute-to-abbas-kiarostami-where-is-the-friends-house/?instance_id=35294\" rel=\"noopener\" target=\"_blank\">Where is the Friend’s House?\u003c/a>\u003c/em> (Saturday, Aug. 17 at the Roxie). This seemingly simple road movie set in northern Iran patiently tracks a boy’s moral endeavor—returning a notebook to a classmate—with Kiarostami’s unique blend of clear-eyed unsentimentality, unwavering empathy and bits of stray humor.\u003c/p>\n\u003cfigure id=\"attachment_13863867\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200.jpg\" alt=\"Still from 'And Life Goes On...' 1992.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘And Life Goes On…’ 1992. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a monumentally devastating earthquake killed thousands of people in the region in 1990, Kiarsotami returned to shoot \u003cem>\u003ca href=\"https://bampfa.org/event/and-life-goes-on\" rel=\"noopener\" target=\"_blank\">And Life Goes On…\u003c/a>\u003c/em> (Saturday, Aug. 17 and Friday, Sept. 20 at BAMPFA). Remarkably, and tellingly, the director devised a life-affirming saga out of the destruction and rubble. At the same time, this great artist transformed the tenets of neorealism and the signposts of nonprofessional performance into a subtextual commentary on filmmaking and storytelling.\u003c/p>\n\u003cp>While the \u003ca href=\"https://www.roxie.com/tribute-to-abbas-kiarostami/\" target=\"_blank\" rel=\"noopener\">Roxie’s mini-salute\u003c/a> concludes Aug. 17, the major BAMPFA retrospective \u003ca href=\"https://bampfa.org/program/abbas-kiarostami-life-as-art\" target=\"_blank\" rel=\"noopener\">Abbas Kiarostami: Life as Art\u003c/a>, rolls through Dec. 21. By any means necessary, grab the opportunity to discover or revisit a director whose every work was and is a tonic for the soul.\u003c/p>\n\u003cfigure id=\"attachment_13863868\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200.jpg\" alt=\"Still from 'Close-Up,' 1990.\" width=\"1200\" height=\"845\" class=\"size-full wp-image-13863868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-1020x718.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Close-Up,’ 1990. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other film on view this week, 1990’s \u003cem>\u003ca href=\"https://bampfa.org/event/close-up\" rel=\"noopener\" target=\"_blank\">Close-Up\u003c/a>\u003c/em> (Sunday, Aug. 18 and Saturday, Aug. 19), foregrounds the way people see movies—and see themselves as the stars of the movie of their life—by documenting the bizarre trial \u003cem>and reenacting the original actions\u003c/em> of a man who impersonated Iranian filmmaker Mohsen Makhmalbaf.\u003c/p>\n\u003cp>Abbas Kiarostami was one of a small handful of astutely humanist filmmakers in the history of movies. He was also a multifaceted artist who, for all the acclaim he received in his life, remains underrated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cinema, more than the other arts, has been coopted for the purpose of entertainment. Given the costs of producing movies, it was inevitable from the beginning. (Crowd-pleasing fare is the time-tested way studios procure profits and investors recoup repayment.) Is it kind of ridiculous to raise a finger in protest against middlebrow movies at this point in the summer? Guilty as charged.\u003c/p>\n\u003cp>Still, can we talk about the nobler goals that movies can aspire to? Can I use words like “profound” and “philosophical” and “sublime” and “uncompromising?” Can we reconnect with the understated genius of the late filmmaker Abbas Kiarostami?\u003c/p>\n\u003cp>The Iranian director, who honed his singular technique of blending realty and fiction in an array of shorts and documentaries in the 1970s and ’80s, earned his first recognition in the West in 1987 with \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/tribute-to-abbas-kiarostami-where-is-the-friends-house/?instance_id=35294\" rel=\"noopener\" target=\"_blank\">Where is the Friend’s House?\u003c/a>\u003c/em> (Saturday, Aug. 17 at the Roxie). This seemingly simple road movie set in northern Iran patiently tracks a boy’s moral endeavor—returning a notebook to a classmate—with Kiarostami’s unique blend of clear-eyed unsentimentality, unwavering empathy and bits of stray humor.\u003c/p>\n\u003cfigure id=\"attachment_13863867\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200.jpg\" alt=\"Still from 'And Life Goes On...' 1992.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13863867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_And-Life-Goes-On_005_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘And Life Goes On…’ 1992. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a monumentally devastating earthquake killed thousands of people in the region in 1990, Kiarsotami returned to shoot \u003cem>\u003ca href=\"https://bampfa.org/event/and-life-goes-on\" rel=\"noopener\" target=\"_blank\">And Life Goes On…\u003c/a>\u003c/em> (Saturday, Aug. 17 and Friday, Sept. 20 at BAMPFA). Remarkably, and tellingly, the director devised a life-affirming saga out of the destruction and rubble. At the same time, this great artist transformed the tenets of neorealism and the signposts of nonprofessional performance into a subtextual commentary on filmmaking and storytelling.\u003c/p>\n\u003cp>While the \u003ca href=\"https://www.roxie.com/tribute-to-abbas-kiarostami/\" target=\"_blank\" rel=\"noopener\">Roxie’s mini-salute\u003c/a> concludes Aug. 17, the major BAMPFA retrospective \u003ca href=\"https://bampfa.org/program/abbas-kiarostami-life-as-art\" target=\"_blank\" rel=\"noopener\">Abbas Kiarostami: Life as Art\u003c/a>, rolls through Dec. 21. By any means necessary, grab the opportunity to discover or revisit a director whose every work was and is a tonic for the soul.\u003c/p>\n\u003cfigure id=\"attachment_13863868\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200.jpg\" alt=\"Still from 'Close-Up,' 1990.\" width=\"1200\" height=\"845\" class=\"size-full wp-image-13863868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kiarostami_Close-Up_001_1200-1020x718.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Close-Up,’ 1990. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other film on view this week, 1990’s \u003cem>\u003ca href=\"https://bampfa.org/event/close-up\" rel=\"noopener\" target=\"_blank\">Close-Up\u003c/a>\u003c/em> (Sunday, Aug. 18 and Saturday, Aug. 19), foregrounds the way people see movies—and see themselves as the stars of the movie of their life—by documenting the bizarre trial \u003cem>and reenacting the original actions\u003c/em> of a man who impersonated Iranian filmmaker Mohsen Makhmalbaf.\u003c/p>\n\u003cp>Abbas Kiarostami was one of a small handful of astutely humanist filmmakers in the history of movies. He was also a multifaceted artist who, for all the acclaim he received in his life, remains underrated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>After the Wedding\u003c/em> is a movie full of transformative secrets.\u003c/p>\n\u003cp>It’s a gender-swapped remake of a 2006 Danish film, and when we first meet the main character—Isabel, played by Michelle Williams—she’s living a modest, humble life running an orphanage in India. Then one day she’s asked to go to New York City to clinch a deal for a life-changing donation to the orphanage. The money would come from a media mogul, Theresa, played by Julianne Moore.\u003c/p>\n\u003cp>That transaction lands Isabel in a world of wealth and power tied too closely to her past—when she was a very different person.\u003c/p>\n\u003cp>“I thought of her as somebody who used to burn very hot, and whose fire had to be extinguished,” Williams says in an interview. “And that only a place like India, with all of its sights and smells and sounds, can calm a person like this.”\u003c/p>\n\u003cp>Michelle Williams spoke with NPR about her role in \u003cem>After the Wedding\u003c/em>, the effect of pay inequality on her own career and filming in India.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RJ4QxPjU2Lk\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. I’m more and more excited about the kind of work that I’m allowed to do—and that periods where I’m not working or not getting the kind of parts that I want to play, I can work on myself in those times. I can fill myself up in other ways so I’m ready and prepared when the role that I’ve been dreaming of does come my way.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sophia Alvarez Boyd and Cindy Johnston produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michelle+Williams+On+Economic+Inequality+In+Her+New+Movie+%E2%80%94+And+Her+Career&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>“It’s a place that I’ve been drawn to for its religious heritage, its fervor, the way that it overwhelms your senses,” Williams says. “But what was most unusual about it was shooting in a Third World country. I don’t think that I’ve ever shot a film in those circumstances. And the sentiment that I was left with, when we departed India, was: It’s such a luxury to have problems. And it was one of the things that I wanted to address in making this film, was to play someone whose tolerance for petty grievances or opulent displays of wealth was shattered because of the life she had lived for the last two decades.”\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/RJ4QxPjU2Lk'\n title='//www.youtube.com/embed/RJ4QxPjU2Lk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her character Isabel, who is visibly uncomfortable with wealth\u003c/strong>\u003c/p>\n\u003cp>She was a New Yorker, and she had a life in New York, and she fled it — and she recreated herself in India as somebody whose life was devoted to making other people’s lives better. And whether that’s selfish or selfless, up to you. But as a New Yorker, I think a lot about how these economic situations abut each other, and about what my family’s response is to that, what my daughter and I talk about as it relates to that. And so it was something that I wanted to put on screen and hopefully send out to a larger conversation. How do we see what we see … how does that change how we live? …\u003c/p>\n\u003cp>What my character finds herself in is a situation with a woman who thinks that there’s a price on people, and that what she’s offering will appeal to my character—that isn’t it what everyone wants, money and power? And what my character is saying by resisting the offer is that more than anything, she wants freedom and autonomy and to live a life of her own making. But the ultimate question comes toward the end, when what she’s made to realize is that this money that’s being dangled in front of her will affect other peoples’ lives.\u003c/p>\n\u003cp>\u003cstrong>On the aftermath of the \u003c/strong>\u003ca href=\"https://www.npr.org/2018/01/10/577163183/how-a-massive-pay-gap-occurred-in-the-all-the-money-in-the-world-reshoot\">\u003cstrong>All the Money in the World\u003c/strong> \u003cstrong>controversy\u003c/strong>\u003c/a>\u003cstrong>, where she received a tiny fraction of the money her male co-star was paid\u003c/strong>\u003c/p>\n\u003cp>It is a sort of private humiliation that became the greatest public platform of my life—much more so than talking about my film and stage work. Because, as I said in a speech on Capitol Hill: If it’s like this for me, how bad is it for other women? And I have started to see a shift, certainly in the way that people treat me—and from what I hear from women coming up to me, that my example has been really useful for them. …\u003c/p>\n\u003cp>It has changed the way that I try and think about money—because it’s tied into our self-worth. And I didn’t really think to ask for it because I didn’t think to value myself in that kind of way. And when I started to think about what would I use money for if I had it, and I started to think about freedom of choice or freedom of time, then I started to be able to open myself up to the idea that I could put a value on myself, and ask for it in my workplace.\u003c/p>\n\u003cp>\u003cstrong>On what she’s said to her daughter about the experience\u003c/strong>\u003c/p>\n\u003cp>Well, what’s so great with single parenting is that you live in extreme intimacy with each another. So everything that I go through, she’s very well aware of it. And for the better, really—so, she was along for the ride of all of this in the last couple of years, in terms of this issue of fair pay. So she’s seen me struggle, and then she’s seen this almost fairy-tale happy ending, which is the job that I most recently finished—a TV series called \u003cem>Fosse/Verdon\u003c/em>. I was paid the same as my male co-star [Sam Rockwell]. …\u003c/p>\n\u003cp>And unfortunately, that’s really the only way to move forward, is that it has to start at the top. And that’s what I experienced when I did this TV show with FX, was: They wanted to make the workplace fair. They wanted me to feel valued. So, what it means we talk about when supporting women—it doesn’t just mean holding our hands. It means supporting us economically.\u003c/p>\n\u003cp>\u003cstrong>On if roles for women are improving \u003c/strong>\u003c/p>\n\u003cp>I can say for me personally, my opportunities have gotten better and better. 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"title": "'Jaws' Shark Gets His Bite Back: A Love Story",
"headTitle": "‘Jaws’ Shark Gets His Bite Back: A Love Story | KQED",
"content": "\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The last replica shark from the 1975 classic blockbuster, 'Jaws', has gotten a facelift on his way to a new museum.",
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"title": "'Jaws' Shark Gets His Bite Back: A Love Story | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stuck my head into the mouth of a great white shark, I did not flinch. In fairness to the shark, named Bruce, he was old. And made of fiberglass, with chipped wooden teeth. That was nine years ago.\u003c/p>\n\u003cp>I found him in a Sun Valley, Calif., junk yard.\u003c/p>\n\u003cp>A few weeks ago, I did it all again. Same shark. Only this time, I broke a sweat and closed my eyes. Bruce had gotten a makeover. He now has row after row of razor-sharp teeth and a hauntingly deep, fleshy gullet.\u003c/p>\n\u003cfigure id=\"attachment_13863693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg\" alt=\"They're fake, right?\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_145_slide-9bcae1171354f4ffc61d9ad1349660e65c1e8937.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">They’re fake, right? \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just any fake shark. Bruce is a star: the last of his kind from the 1975 classic, \u003cem>Jaws\u003c/em>, with a devoted fanbase and a \u003ca href=\"https://www.facebook.com/Bruce-the-mechanical-shark-from-Jaws-56452762396/\">Facebook page\u003c/a>. And, when the Academy of Motion Picture Arts and Sciences opens its much-anticipated movie museum in Los Angeles next year, Bruce will hang in a place of honor.\u003c/p>\n\u003cp>Just when you thought it was safe to go near a museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story of this fearsome 25-foot shark, his restoration, and how he made his way from movie royalty to a junkyard and, finally, to the Academy Museum of Motion Pictures is quite a fish tale. Only it’s all true.\u003c/p>\n\u003cp>\u003cstrong>‘I hope it works’\u003c/strong>\u003c/p>\n\u003cp>When \u003cem>Jaws\u003c/em> opened in the summer of 1975, audiences weren’t just terrified by its star shark. They were fascinated. Because the shark was, in reality, a remarkable feat of human engineering. A mechanical, man-made man-eater.\u003c/p>\n\u003cp>With Bruce’s help, the movie chewed through box office records. It became the highest-grossing film of all time and created the tentpole template—releasing big, high-concept films in hundreds of theaters during the summer—that studios use to this day. \u003cem>Jaws\u003c/em> was also a critical hit, earning an Academy Award nomination for Best Picture and winning Oscars for its score, editing and sound. It’s difficult to overstate the movie’s stamp on 1975 America.\u003c/p>\n\u003cp>Greg Nicotero, now a movie effects and make-up icon, remembers seeing \u003cem>Jaws\u003c/em> as a 12-year-old, with his mother.\u003c/p>\n\u003cp>“My mom tried to cover my eyes,” he says of the climactic scene when the shark devours the shark-hunter Quint, played by Robert Shaw. “She didn’t want me to see it because she was afraid it would traumatize me, and it did. In a good way.”\u003c/p>\n\u003cfigure id=\"attachment_13863694\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe\" alt=\"A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce.\" width=\"200\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/undefined_custom-128321a7075a9b88c01e0c046e33c8aa5ca712a1-160x213.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">A 13-year-old Greg Nicotero, second from right, completes his pilgrimage to Universal Studios to see the last surviving Bruce. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For young Nicotero, \u003cem>Jaws\u003c/em> was a revelation.\u003c/p>\n\u003cp>“[It] was the movie that made me want to do special effects, because I was fascinated that there was a bunch of dudes hanging out that built this.”\u003c/p>\n\u003cp>“This” wasn’t just one shark but three, collectively nicknamed Bruce, after director Steven Spielberg’s lawyer, Bruce Ramer. And these “dudes” were a small crew of special effects craftsmen that began with production designer Joe Alves.\u003c/p>\n\u003cp>Spielberg and Alves had agreed: To shock audiences, the movie needed a full-size, monster shark that could swim, eat (people, of course) and survive filming in the saltwater off Martha’s Vineyard. But how to build it?\u003c/p>\n\u003cp>Remember, there were no digital effects in 1975. Scares didn’t come from a computer; they were built in a warehouse, out of rubber, plastic and wood. And, it turns out, lots of pneumatic hoses. Alves first took the job to Universal’s in-house effects team. But, he remembers, “when we talked to the effects people, they said, ‘We can’t do that. It’ll take a year, year-and-a-half.’ ”\u003c/p>\n\u003cp>Alves didn’t have that kind of time and turned to a special effects legend: the man behind the giant squid from \u003cem>20,000 Leagues Under The Sea\u003c/em>, Bob Mattey. Alves and Mattey had no time to waste. When \u003cem>Jaws\u003c/em>, the novel, became a best-seller, the studio rushed the film into production.\u003c/p>\n\u003cp>“When we went to Martha’s Vineyard, it was like, ‘I hope it works,’ ” remembers Roy Arbogast, who worked on the shark team and developed the sharks’ skin.\u003c/p>\n\u003cp>The film’s trio of man-made sharks worked well enough to terrify generations and break box office records. But they also broke down so often that the film spiraled over schedule and over budget. Studio executives were furious and feared the movie would flop.\u003c/p>\n\u003cp>“We were in deep trouble,” Alves told me. “The studio was reluctant to make the movie; they had no confidence in it.”\u003c/p>\n\u003cp>And so, when filming finally ended, with no sign of the film’s future success, the Bruces were abandoned, Alves said. “When we came back, they just dumped the sharks in the back lot, and they just rotted away.”\u003c/p>\n\u003cp>\u003cstrong>The last Bruce\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/tw1_8414_slide-87c298dee3b12b6217a5d7c22c3faffd75f144e9.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers “sling” the last remaining shark cast from the original Jaws mold and lift it, by crane, to a nearby crate. After spending more than 25 years at a Los Angeles junkyard, “Bruce” is headed for a museum. \u003ccite>(Todd Wawrychuk/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a boy, Greg Nicotero was one of many fans who clamored to see the \u003cem>Jaws\u003c/em> sharks. But, even by the film’s release, the three original Bruces were beyond repair.\u003c/p>\n\u003cp>The studio had not, however, thrown away the mold that Alves, Mattey and their effects team had used to create the Bruces. So the studio quickly made an identical \u003cem>fourth\u003c/em> shark, out of fiberglass, and hung him by his tail for visitors to see at Universal Studios. The next year, 1976, Nicotero was one of countless tourists who posed for a photo next to this last Bruce. Little did he know their paths would cross again.\u003c/p>\n\u003cp>Bruce hung there at Universal Studios for 15 years, until he, like the film franchise he started, had begun to show his age. Around 1990, just a few years after Universal released the fourth installment, the forgettable \u003cem>Jaws: The Revenge\u003c/em>, the studio cut Bruce down, bundled him with a pile of wrecked stunt cars, and shipped him off to a nearby junkyard.\u003c/p>\n\u003cp>Junkyard owner, Sam Adlen, did not consider the shark junk. He knew immediately what he had, and mounted Bruce onto two tall, metal poles, in the middle of a small clutch of palm trees. And there Bruce would stay, for more than two decades, menacing a sea of scrap metal. One man’s private shark.\u003c/p>\n\u003cfigure id=\"attachment_13863683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg\" alt=\"The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 'Jaws' shark, donated by Nathan Adlen.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bruce_slide-8710c90f1e0c2ab638d7ff1ee2f222a43742c61f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Academy Museum has accepted into its collection the sole surviving full-scale model of the 1975 ‘Jaws’ shark, donated by Nathan Adlen. \u003ccite>(Michael Palma/Courtesy of AMPAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Greg Nicotero, I too was enthralled with the \u003cem>Jaws\u003c/em> sharks as a kid. I spent summers in the library, looking for old newspaper and magazine clippings about the Bruces. As a journalist, in 2010, I set out to find them, or what was left.\u003c/p>\n\u003cp>I went straight to director Steven Spielberg.\u003c/p>\n\u003cp>“The original Bruce—or Bruces—were all destroyed,” Spielberg’s spokesman, Marvin Levy, told me back then. “So there is no Bruce existing anywhere, nor any parts thereof.”\u003c/p>\n\u003cp>He didn’t hesitate. The Bruces, all of them, were gone.\u003c/p>\n\u003cp>It turns out, hardly anyone, including Spielberg, knew the story of Sam Adlen and that one last, fiberglass Bruce. But word had spread among the film’s most devoted fans, that a fourth shark was out there, somewhere.\u003c/p>\n\u003cp>In a junkyard, legend had it.\u003c/p>\n\u003cp>After scouring the San Fernando Valley, that’s where I finally found him. With the help of Sam’s son, Nathan, I climbed a ladder and first stuck my head inside Bruce’s mouth. He was in terrible shape after 35 years in the California sun. His gills were chipped, his skin cracked, his wooden teeth rotting.\u003c/p>\n\u003cp>But he was still, undoubtedly, Bruce. The massive dorsal. The tail as tall as a person.\u003c/p>\n\u003cp>When I \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=127370664\">reported all of this\u003c/a> in the summer of 2010, some \u003cem>Jaws\u003c/em> fans began making pilgrimages to the junkyard, hoping to catch a glimpse of the shark. Then, in 2016, when Nathan Adlen decided to close the business, \u003ca href=\"https://www.npr.org/2016/02/10/465462317/from-junkyard-to-museum-the-journey-of-a-jaws-shark\">he donated his father’s shark\u003c/a> to the forthcoming Academy Museum of Motion Pictures.\u003c/p>\n\u003cp>There was just one problem: Bruce was in desperate need of repair.\u003c/p>\n\u003cp>\u003cstrong>Bruce, meet Greg Nicotero\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13863697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg\" alt=\"Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero's left, awaiting use for an episode of 'The Walking Dead'.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85-1200x899.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/img_8972_custom-604511e6b520f7792d2fe3e85b35613b2c3c95f6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greg Nicotero risks his safety to sculpt a new mouth for the museum-bound Bruce. Notice the army of zombie heads on the floor to Nicotero’s left, awaiting use for an episode of ‘The Walking Dead’. \u003ccite>(Courtesy of Greg Nicotero)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Greg Nicotero’s mother covered his eyes during the terrifying climax of \u003cem>Jaws\u003c/em>, her son has become one of Hollywood’s go-to special effects and make-up artists and co-founded the award-winning KNB EFX Group. He is perhaps best known for his work breathing life into the dead on the hit television show, \u003cem>The Walking Dead\u003c/em>.\u003c/p>\n\u003cp>When Nicotero heard that the last Bruce was being donated, he eagerly reached out to the Academy Museum and volunteered to restore the shark.\u003c/p>\n\u003cp>“I think I was kind of born to do this,” Nicotero says of the restoration.\u003c/p>\n\u003cp>Bruce was driven on a flat-bed to Nicotero’s sprawling workshop in Chatsworth, Calif. For six months, Nicotero and his team worked tirelessly.\u003c/p>\n\u003cp>While hanging at Universal, Bruce had been painted repeatedly. “So we peeled all that [paint] off,” Nicotero says. “But then there were a billion little stress fractures in the whole thing. So we had to Dremel all the stress fractures out and then patch everything. It was a mess.”\u003c/p>\n\u003cp>To recreate Bruce’s spine-tingling jaws, Nicotero and his team taped huge photos of the original sharks to the workshop’s walls and used them for reference. Nicotero sculpted new gums and a gullet while studying a blown-up still of the originals. New teeth were created using the original molds. Even their placement is faithful to the earlier sharks.\u003c/p>\n\u003cp>“I mocked up where all the teeth went using all the reference photos,” Nicotero says. “How the teeth are angled—it’s very specific in terms of the ones that are laying back, the ones that are pointing straight up, the ones that are out.”\u003c/p>\n\u003cp>And, day by day, he says, “it would get closer and closer to looking like the shark that I remember.”\u003c/p>\n\u003cfigure id=\"attachment_13863687\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg\" alt=\"One of the original Bruces, staying dry above just some of the equipment needed to bring it to life.\" width=\"698\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/jaws08_custom-bf33a5c65436db6dfed48e99eea31b659828538b-160x152.jpg 160w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">One of the original Bruces, staying dry above just some of the equipment needed to bring it to life. \u003ccite>(Courtesy of Jim Beller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once finished, Greg Nicotero and the Academy Museum invited me to the workshop for a look, before Bruce heads to the museum. Joining us were some of Bruce’s oldest friends, Joe Alves, the film’s production designer, and Roy Arbogast, the now-retired effects artist who created the original sharks’ skin.\u003c/p>\n\u003cp>“I got goosebumps. I’m not kidding,” Arbogast says after going eye-to-eye with the newly restored Bruce.\u003c/p>\n\u003cp>“Where’s Roger? Did he hear that?” Nicotero says, practically giddy. He cranes his head, looking for the leader of his restoration team, Roger Baena. “Roy Arbogast has goosebumps!”\u003c/p>\n\u003cp>This project, Nicotero admits, was “a labor of love.”\u003c/p>\n\u003cp>Before I peer into Bruce’s mouth, and close my eyes, Arbogast and I study the old photos on the wall. In one, I point to a young man who appears to be using a heater on the shark’s gums. They’re wet with glue. Or saltwater. Or both.\u003c/p>\n\u003cp>“Is that you?” I ask.\u003c/p>\n\u003cp>“That’s me,” Arbogast says, shaking his head. “I’ll be darned. That’s me. I was such a young, handsome guy then.” He laughs.\u003c/p>\n\u003cfigure id=\"attachment_13863698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg\" alt=\"Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/190722b_056_slide-8e4d44afd423e820b2d2482279fc63ab5c72503d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Kramer, Greg Nicotero, Bruce the Shark, Roger Baena, author Dennis Prince, Joe Alves and Roy Arbogast. \u003ccite>(Troy Harvey/Courtesy of the Academy of Motion Picture Arts and Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Actor Jeffrey Kramer also drops by. He played the deputy to Roy Scheider’s police chief in \u003cem>Jaws\u003c/em> and \u003cem>Jaws 2\u003c/em>. Kramer remembers production began with him discovering the remains of the shark’s first victim on the beach.\u003c/p>\n\u003cp>“I was so nervous I could have thrown up on the beach,” Kramer says. “But what an experience. I mean, who knew, Joe?”\u003c/p>\n\u003cp>Kramer looks at Alves, then Arbogast. They all stare quietly at the shark that, after more than four decades, suddenly—once again—looks like those sharks of 1974, when these men were all much younger, their careers still ahead of them.\u003c/p>\n\u003cp>Before production fell behind schedule and the budget doubled.\u003c/p>\n\u003cp>Before\u003ca href=\"https://www.youtube.com/watch?v=ZvCI-gNK_y4\"> the famous music\u003c/a>.\u003c/p>\n\u003cp>Before the blockbuster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who knew?” Kramer says, wistfully. “Who knew?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jaws%27+Shark+Gets+His+Bite+Back%3A+A+Love+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Kitchen,' Mob Wives Are Doin' it For Themselves",
"headTitle": "In ‘The Kitchen,’ Mob Wives Are Doin’ it For Themselves | KQED",
"content": "\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do this.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlcyEDZVYkw\u003c/p>\n\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Kitchen\u003c/em>, Tiffany Haddish snatches a revolver from her just-out-of-jail gangster husband, gets up in his face, and snarls, “It’s \u003cem>my \u003c/em>business now.”\u003c/p>\n\u003cp>It’s a strong moment—one that gets at something deeper than the surface pleasures and platitudes of a mob movie led by women; it intimates just how caustic and corrosive running a business can be. How are the consequences of the American Dream—the ruthless ambitions that drive capitalism—gendered?\u003c/p>\n\u003cp>That’s the question at the center of Andrea Berloff’s film, based on the comic book miniseries by Ollie Masters and illustrated by Ming Doyle. Yet so much of what’s promising about \u003cem>The Kitchen, \u003c/em>including its ability to explore that question meaningfully, is hampered by its need to justify its own existence—to keep convincing you that it’s sufficiently woke.\u003c/p>\n\u003cp>The film follows three women (Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss) whose Irish gangster husbands (Brian d’Arcy James, Kevin O’Carroll, and Jeremy Bobb, respectively) are sent to jail, leaving the three to pick up the pieces in 1970s-era Hell’s Kitchen. As we watch them assert power and claim turf for themselves,\u003cem>The Kitchen\u003c/em> does give Haddish and Moss room to flex their genre muscles, but it habitually second-guesses its own decision to tell its story in the first place.\u003c/p>\n\u003cp>The palpable, hesitant self-doubt the film exudes is ironic, given the trajectory of its characters’ ascension in the mob world. Kathy (McCarthy), Ruby (Haddish), and Claire (Moss) have to prove to the family that anything male mobsters can do, they can do better. It feels like the film, too, keeps trying to say this. In several scenes, characters explicate and underline that women can be gangsters, too, and that the world is misogynistic, patriarchal and racist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The character of Little Jackie (Myt Watford), for example—who runs things while Ruby’s husband is behind bars—is written as a stingy, foul, \u003cem>cartoonishly \u003c/em>misogynistic jerk. By showing him shorting the women the money they now need to support themselves and their families, the script tells us everything we need to know about how women are undervalued in that system. But the film relentlessly asserts and overexplains this point, stripping it of any human nuance. Writer-director Andrea Berloff’s script similarly telegraphs what it means when the women take things into their own hands, employing clunky dialogue about how meaningful it is that these characters can do this.\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/YlcyEDZVYkw'\n title='//www.youtube.com/embed/YlcyEDZVYkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those moments when the film makes its points about gender and power dynamics using little to no dialogue are its most effective. It’s a lot more interesting, for instance, to watch Tiffany Haddish strut down a crosswalk, hand held out at cars, evoking Pam Grier as she \u003cem>literally \u003c/em>stops traffic, than it is to listen to her intone that they need to remind the family “what the word \u003cem>family \u003c/em>even \u003cem>means\u003c/em>.”\u003c/p>\n\u003cp>It’s also more exciting to watch Elisabeth Moss, whose character is heavily shaped by the marital abuse she’s experienced, wield a Magnum at a street harasser than it is to watch her chew her way through ham-fisted speeches about the action she just took, or is about to take.\u003c/p>\n\u003cp>Once the film settles down and stops trying to rationalize itself, \u003cem>The Kitchen\u003c/em> can be thrilling. Soon enough, things get appropriately pulpy and nasty, leaning into genre conventions and then inflecting them with female power. As Margo Channing might opine, “Funny business, a woman’s career.” Berloff lets her leads walk the streets like they own them, because they do, adding ghoulish details that drive this home: the body in the alleyway, the bloodstains on the wall, the cross hanging on a wall behind someone as they hack away at a corpse.\u003c/p>\n\u003cp>When it’s actively exploring ambiguities of power and alliance, transaction and labor, leadership and territory, the film raises intriguing questions about capitalism, gender and race. And it manages to do so while supplying a steady stream of entertaining plot twists. As the relationships among these three women fluctuate and evolve, they emerge as clear, individualized characters, as opposed to mouthpieces delivering talking points about gender politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It takes roughly a third of the film’s running time for it to stop insisting on itself long enough to dig deeper, beyond the surface optics of its story. In the end, Berloff \u003cem>is\u003c/em> invested in showing us that in the mob—as in the world of “legitimate” business—empires are built on the blood of others. I just wish the film didn’t feel it needed to tell us to buckle our seatbelts; we already knew it was going to be a bumpy night.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Overwritten%2C+Undercooked+%27The+Kitchen%2C%27+Mob+Wives+Are+Doin%27+It+For+Themselves&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After nearly a century and a quarter as a U.S. territory, Puerto Rico is beset by economic crisis and political chaos. Much of the havoc can be blamed on Hurricane Maria, but the U.S. government wasn’t especially mindful of its citizens—who don’t vote in federal elections and have no elected representative in D.C.—even before the 2018 storm left a trail of death and devastation.\u003c/p>\n\u003cp>\u003cem>Moving in Place\u003c/em>, the finale of the \u003ca href=\"https://www.moadsf.org/blog/caribbean-in-motion-a-film-series/\" rel=\"noopener\" target=\"_blank\">Caribbean in Motion film series\u003c/a> playing at MoAD for the last five weeks, gives voice to several twentysomething Puerto Ricans on the island, in New York and Florida. Perennially cheerful yet palpably concerned, they grapple with a complicated present and an uncertain future.\u003c/p>\n\u003cfigure id=\"attachment_13863189\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg\" alt=\"Still from 'Moving in Place,' a hurricane relief rally in Union Square, New York City.\" width=\"1200\" height=\"638\" class=\"size-full wp-image-13863189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-800x425.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-768x408.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Hurricane-Relief-Rally-in-Union-Square-NYC_1200-1020x542.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Moving in Place,’ a hurricane relief rally in Union Square, New York City. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A current of injustice runs just below the surface of their testimonies; it’s neither fair nor right that these educated, generous people should encounter so many hurdles contributing to Puerto Rico’s recovery. \u003cem>Moving in Place\u003c/em>, which screens Wednesday, Aug. 7, evokes the inequitable power relationship between the U.S. and the tiny territory, and asks us to hear the lingering echoes of colonialism and exploitation.\u003c/p>\n\u003cp>Filmmakers Lyka Sethi and Geoffrey Iwata would have better served their subjects—and their talking-head documentary—by editing their interviews with greater rigor. As it is, \u003cem>Moving in Place\u003c/em> is like eavesdropping on a series of conversations: heartfelt, earnest and in the moment. \u003ci>—Michael Fox\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lXO0he1WjYw\u003c/p>\n\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\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/lXO0he1WjYw'\n title='//www.youtube.com/embed/lXO0he1WjYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Better Stunts & Actors, Just As Derivative: ‘Fast & Furious Presents: Hobbs & Shaw’ | KQED",
"content": "\u003cp>While we were all arguing whether Idris Elba should be the new 007, he opted to become the next T-800 instead. \u003c/p>\n\u003cp>In \u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em>, the most agreeable of the innumerable \u003cem>Fast & Furious\u003c/em> presentations, \u003cem>The Wire\u003c/em>‘s Stringer Bell plays a straight-up Terminator, with stainless steel innards, glowing orange eyeballs, and a Google-glass-like POV datastream that gives him helpful notifications such as ATTACK IMMINENT whenever bickering-buddy good guys Dwayne Johnson (aka Hobbs) or Jason Statham (aka Shaw) cock a fist in his direction.\u003c/p>\n\u003cp>That’s an observation top-billed Johnson makes himself while fleeing (!) the cybernetically-enhanced super-soldier, though Elba’s character—he’s called Brixton, like in the old Clash song “Guns of…”—prefers the sobriquet “Black Superman.”\u003c/p>\n\u003cp>But he has \u003cem>also\u003c/em> got more than a little Darth Vader in him, in that he’s shown to be doing the bidding of a unseen superior with a digitally scrambled voice who scolds Brixton for his failures while his more-machine-now-than-man-body is welded back together, post-battle. The disembodied voice of Supreme Leader Snoke or whatever even orders Brixton to attempt to turn Hobbs & Shaw to the Dark Side instead of simply rubbing them out! There’s petty larceny, there’s grand theft auto.\u003c/p>\n\u003cp>All of which is to say: This sidebar presentation is still a genuine \u003cem>Fast & Furious\u003c/em> movie, in the sense that almost everything in it has been shamelessly chop-shopped from the work of more innovative filmmakers and squished into a less memorable, more quickly digestible form, and calibrated to flatter its stars to the maximum extent possible. It breaks ground only in the area of punctuation, as its title contains two ampersands and a colon, a sequence of keystrokes seldom seen even in this late (?) hour of the Franchise Age.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b736ZM_KfEk\u003c/p>\n\u003cp>This one comes to us from director David Leitch, who collaborated with his old stunt-team partner Chad Stahelski on \u003cem>John Wick\u003c/em> before striking out on his own to direct, in short order, \u003cem>Atomic Blonde, Deadpool 2\u003c/em> and now this. Given his deep background staging fights and stunts and chases in-camera, it’s not surprising that the set pieces are generally crisper and more dimensional here than in the mainline \u003cem>Fast & Furious\u003c/em> films. Johnson and Statham are both considerably more athletic (and charismatic) performers than original-recipe \u003cem>F&F\u003c/em> star/producer Vin Diesel, who must not be upstaged, so getting rid of that clumsy tomato can allows them to cut loose, humor-wise and fisticuffs-wise. \u003c/p>\n\u003cp>The one sprinkling of novelty comes in the final 15 minutes, when Hobbs leads his allies back to his ancestral home in Samoa (as played by the Hawaiian island of Kauai) for a last stand (like 007 did in \u003cem>Skyfall\u003c/em>) after figuring out how to turn off their enemies’ electronically-locked firearms (like the one 007 had in, um, \u003cem>Skyfall\u003c/em>).\u003c/p>\n\u003cp>The binding aesthetic of the mayhem is still a bit sterile—it just doesn’t have the element of (seemingly) genuine danger that has made the \u003cem>Johns Wick\u003c/em>s, the last three \u003cem>Missions: Impossible\u003c/em> and \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a> all standouts of this genre.\u003c/p>\n\u003cp>But there are still some imaginative bits, like when several members of the Hobbs family daisy-chain their monster trucks to the front of a tow truck that’s attempting to pull Brixton’s helicopter out of the sky like a multi-ton barrel of monkeys. But all the other set pieces have a weird dearth of extras in them—the seeming absence of any bystanders is what makes a high-speed chase through London, for example, feel so low-stakes.\u003c/p>\n\u003cp>The plot this time is so far-out that it’s wasted, frankly, on a film that just wants to use it as the scaffolding between nitrous-oxide buggy chases and extended stand-up routines from surprise comic guest stars. Brixton is part of some trans-humanist techno cult called Eteon that wants to thin the herd (like Thanos!) using “a programmable virus” (like the one in \u003cem>Mission: Impossible II\u003c/em>!) and electronically upgrade the survivors to usher in the next phase of human evolution—or something like that.\u003c/p>\n\u003cp>One scene reveals that this group has minions who sit at rows of computer terminals surrounded by clouds—seriously, it looks like the way Powell and Pressburger depicted Heaven in \u003cem>A Matter of Life and Death\u003c/em>, 70 years ago. Through these terminals, these goons can exert \u003cem>total control over the global media\u003c/em>, which is how it takes exactly one line of dialogue for Brixton to publicly frame Hobbs, Shaw and new-player Vanessa Kirby (she’s Shaw’s MI6-agent sister, Hattie) as traitors (like Steve Rogers and, on more than one occasion, Ethan Hunt). \u003c/p>\n\u003cp>That media coup doesn’t really explain why our trio of heroes is being sought by multiple law-enforcement agencies. In fact, the film provides zero evidence they’re the subjects of a global manhunt; Hobbs simply announces it at one point. Maybe it’s the kind of thing he needs to say to psych himself up for combat. The movie never bothers to demonstrate the effects of its MacGuffin supervirus either, which might give this genial flexfest some sense of urgency. Many scenes begin with this sort of exposition-as-dialogue, as though the actors are trying to remind themselves what they’re supposed to be doing on this particular shooting day. Anyway, the three of them are forced to lam it, and Shaw (that’s Statham, remember, the short one) makes sure his frenemy Hobbs’ fake I.D. gives him the pseudonym “Mike Oxmall.”\u003c/p>\n\u003cp>Say it out loud. That’s the level this series operates on. Whether you find that funny or you don’t, you’re entirely correct. When it wants to up the sophistication, it points the camera at a Mini Cooper like the one Statham drove in the 2003 remake of \u003cem>The Italian Job\u003c/em> (the 1969 original is one from which the \u003cem>Fast\u003c/em> series has pilfered several big scenes) and has him say, “I used that for a \u003cem>job\u003c/em>… in Italy.” Wink! \u003c/p>\n\u003cp>The general sloppiness is the hallmark of a Chris Morgan Productions production. Morgan is the man whom \u003cem>H&S\u003c/em>‘s press notes identify as the “narrative architect” of the \u003cem>Fast\u003c/em> series. That’s not be confused with the “saga visionary,” which is the honorific Diesel has chosen for \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__feature.variety.com_vin-2Ddiesel-2Da-2Dfurious-2Dmind_&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=aSlOoTvJVkh6YJKG61M7dO_LNQ6ZqXM1niOW4vnkGgs&e=\" target=\"_blank\" rel=\"noopener\">himself\u003c/a>.\u003c/p>\n\u003cp>In any case, Morgan now shares screenplay credit with Drew Pearce, who helped out writer-director Shane Black on \u003cem>Iron Man 3\u003c/em> and writer-director Chris McQuarrie on \u003cem>\u003ca href=\"https://www.npr.org/2015/07/31/426883093/rogue-nation-fulfills-the-mission-of-a-reliable-blockbuster-series\" target=\"_blank\" rel=\"noopener\">Mission: Impossible — Rogue Nation\u003c/a>\u003c/em>, and who made \u003cem>Hotel Artemis\u003c/em>. In other words, there’s an actual writer on the show this time, which explains why \u003cem>Hobbs & Shaw\u003c/em> has something else that’s new to this series: real jokes, “Mike Oxmall” notwithstanding. (Statham has \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__sports.yahoo.com_jason-2Dstatham-2Dcredits-2Dunsung-2Dhero-2Ddrew-2Dpearce-2Dfor-2Dsaving-2Dhobbs-2Dshaw-2Dscript-2Dexclusive-2D101320358.html&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=H2yeXbHuSGydy7zcW587dp9brkxSQ7_IONZpGF-UqFU&e=\" target=\"_blank\" rel=\"noopener\">called Pearce\u003c/a> the “unsung hero” of the film for improving substantially upon Morgan’s draft. Imagine the contribution Pearce must have made for a lowly screenwriter to be praised on a press junket by name.) \u003c/p>\n\u003cp>\u003cem>Hobbs & Shaw\u003c/em> sets up as many sequels as its stars will show up for, but in the meantime, this is another entry that has forgotten that Statham’s character murdered Han, the charming racer played by Sung Kang, several movies ago, before someone decided to retcon Shaw into a good guy. Hey, this series only has one self-identified architect and one self-proclaimed visionary. It can’t be expected to sweat the small stuff. But it could use more sweat overall. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The \"genial flexfest\" of a spinoff is the \"most agreeable\" of the franchise, which once again slickly repackages set pieces from other, better, more innovative action films. ",
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"description": "The "genial flexfest" of a spinoff is the "most agreeable" of the franchise, which once again slickly repackages set pieces from other, better, more innovative action films. ",
"title": "Better Stunts & Actors, Just As Derivative: 'Fast & Furious Presents: Hobbs & Shaw' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While we were all arguing whether Idris Elba should be the new 007, he opted to become the next T-800 instead. \u003c/p>\n\u003cp>In \u003cem>Fast & Furious Presents: Hobbs & Shaw\u003c/em>, the most agreeable of the innumerable \u003cem>Fast & Furious\u003c/em> presentations, \u003cem>The Wire\u003c/em>‘s Stringer Bell plays a straight-up Terminator, with stainless steel innards, glowing orange eyeballs, and a Google-glass-like POV datastream that gives him helpful notifications such as ATTACK IMMINENT whenever bickering-buddy good guys Dwayne Johnson (aka Hobbs) or Jason Statham (aka Shaw) cock a fist in his direction.\u003c/p>\n\u003cp>That’s an observation top-billed Johnson makes himself while fleeing (!) the cybernetically-enhanced super-soldier, though Elba’s character—he’s called Brixton, like in the old Clash song “Guns of…”—prefers the sobriquet “Black Superman.”\u003c/p>\n\u003cp>But he has \u003cem>also\u003c/em> got more than a little Darth Vader in him, in that he’s shown to be doing the bidding of a unseen superior with a digitally scrambled voice who scolds Brixton for his failures while his more-machine-now-than-man-body is welded back together, post-battle. The disembodied voice of Supreme Leader Snoke or whatever even orders Brixton to attempt to turn Hobbs & Shaw to the Dark Side instead of simply rubbing them out! There’s petty larceny, there’s grand theft auto.\u003c/p>\n\u003cp>All of which is to say: This sidebar presentation is still a genuine \u003cem>Fast & Furious\u003c/em> movie, in the sense that almost everything in it has been shamelessly chop-shopped from the work of more innovative filmmakers and squished into a less memorable, more quickly digestible form, and calibrated to flatter its stars to the maximum extent possible. It breaks ground only in the area of punctuation, as its title contains two ampersands and a colon, a sequence of keystrokes seldom seen even in this late (?) hour of the Franchise Age.\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/b736ZM_KfEk'\n title='//www.youtube.com/embed/b736ZM_KfEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This one comes to us from director David Leitch, who collaborated with his old stunt-team partner Chad Stahelski on \u003cem>John Wick\u003c/em> before striking out on his own to direct, in short order, \u003cem>Atomic Blonde, Deadpool 2\u003c/em> and now this. Given his deep background staging fights and stunts and chases in-camera, it’s not surprising that the set pieces are generally crisper and more dimensional here than in the mainline \u003cem>Fast & Furious\u003c/em> films. Johnson and Statham are both considerably more athletic (and charismatic) performers than original-recipe \u003cem>F&F\u003c/em> star/producer Vin Diesel, who must not be upstaged, so getting rid of that clumsy tomato can allows them to cut loose, humor-wise and fisticuffs-wise. \u003c/p>\n\u003cp>The one sprinkling of novelty comes in the final 15 minutes, when Hobbs leads his allies back to his ancestral home in Samoa (as played by the Hawaiian island of Kauai) for a last stand (like 007 did in \u003cem>Skyfall\u003c/em>) after figuring out how to turn off their enemies’ electronically-locked firearms (like the one 007 had in, um, \u003cem>Skyfall\u003c/em>).\u003c/p>\n\u003cp>The binding aesthetic of the mayhem is still a bit sterile—it just doesn’t have the element of (seemingly) genuine danger that has made the \u003cem>Johns Wick\u003c/em>s, the last three \u003cem>Missions: Impossible\u003c/em> and \u003ca href=\"https://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\" target=\"_blank\" rel=\"noopener\">Mad Max: Fury Road\u003c/a> all standouts of this genre.\u003c/p>\n\u003cp>But there are still some imaginative bits, like when several members of the Hobbs family daisy-chain their monster trucks to the front of a tow truck that’s attempting to pull Brixton’s helicopter out of the sky like a multi-ton barrel of monkeys. But all the other set pieces have a weird dearth of extras in them—the seeming absence of any bystanders is what makes a high-speed chase through London, for example, feel so low-stakes.\u003c/p>\n\u003cp>The plot this time is so far-out that it’s wasted, frankly, on a film that just wants to use it as the scaffolding between nitrous-oxide buggy chases and extended stand-up routines from surprise comic guest stars. Brixton is part of some trans-humanist techno cult called Eteon that wants to thin the herd (like Thanos!) using “a programmable virus” (like the one in \u003cem>Mission: Impossible II\u003c/em>!) and electronically upgrade the survivors to usher in the next phase of human evolution—or something like that.\u003c/p>\n\u003cp>One scene reveals that this group has minions who sit at rows of computer terminals surrounded by clouds—seriously, it looks like the way Powell and Pressburger depicted Heaven in \u003cem>A Matter of Life and Death\u003c/em>, 70 years ago. Through these terminals, these goons can exert \u003cem>total control over the global media\u003c/em>, which is how it takes exactly one line of dialogue for Brixton to publicly frame Hobbs, Shaw and new-player Vanessa Kirby (she’s Shaw’s MI6-agent sister, Hattie) as traitors (like Steve Rogers and, on more than one occasion, Ethan Hunt). \u003c/p>\n\u003cp>That media coup doesn’t really explain why our trio of heroes is being sought by multiple law-enforcement agencies. In fact, the film provides zero evidence they’re the subjects of a global manhunt; Hobbs simply announces it at one point. Maybe it’s the kind of thing he needs to say to psych himself up for combat. The movie never bothers to demonstrate the effects of its MacGuffin supervirus either, which might give this genial flexfest some sense of urgency. Many scenes begin with this sort of exposition-as-dialogue, as though the actors are trying to remind themselves what they’re supposed to be doing on this particular shooting day. Anyway, the three of them are forced to lam it, and Shaw (that’s Statham, remember, the short one) makes sure his frenemy Hobbs’ fake I.D. gives him the pseudonym “Mike Oxmall.”\u003c/p>\n\u003cp>Say it out loud. That’s the level this series operates on. Whether you find that funny or you don’t, you’re entirely correct. When it wants to up the sophistication, it points the camera at a Mini Cooper like the one Statham drove in the 2003 remake of \u003cem>The Italian Job\u003c/em> (the 1969 original is one from which the \u003cem>Fast\u003c/em> series has pilfered several big scenes) and has him say, “I used that for a \u003cem>job\u003c/em>… in Italy.” Wink! \u003c/p>\n\u003cp>The general sloppiness is the hallmark of a Chris Morgan Productions production. Morgan is the man whom \u003cem>H&S\u003c/em>‘s press notes identify as the “narrative architect” of the \u003cem>Fast\u003c/em> series. That’s not be confused with the “saga visionary,” which is the honorific Diesel has chosen for \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__feature.variety.com_vin-2Ddiesel-2Da-2Dfurious-2Dmind_&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=aSlOoTvJVkh6YJKG61M7dO_LNQ6ZqXM1niOW4vnkGgs&e=\" target=\"_blank\" rel=\"noopener\">himself\u003c/a>.\u003c/p>\n\u003cp>In any case, Morgan now shares screenplay credit with Drew Pearce, who helped out writer-director Shane Black on \u003cem>Iron Man 3\u003c/em> and writer-director Chris McQuarrie on \u003cem>\u003ca href=\"https://www.npr.org/2015/07/31/426883093/rogue-nation-fulfills-the-mission-of-a-reliable-blockbuster-series\" target=\"_blank\" rel=\"noopener\">Mission: Impossible — Rogue Nation\u003c/a>\u003c/em>, and who made \u003cem>Hotel Artemis\u003c/em>. In other words, there’s an actual writer on the show this time, which explains why \u003cem>Hobbs & Shaw\u003c/em> has something else that’s new to this series: real jokes, “Mike Oxmall” notwithstanding. (Statham has \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__sports.yahoo.com_jason-2Dstatham-2Dcredits-2Dunsung-2Dhero-2Ddrew-2Dpearce-2Dfor-2Dsaving-2Dhobbs-2Dshaw-2Dscript-2Dexclusive-2D101320358.html&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=KZTZ4YO4JbNxwe-axLXEmQ&m=jzI-IPDMpSjqfNUdmzf2GktWKkvDQmu4FjNxrPepnHA&s=H2yeXbHuSGydy7zcW587dp9brkxSQ7_IONZpGF-UqFU&e=\" target=\"_blank\" rel=\"noopener\">called Pearce\u003c/a> the “unsung hero” of the film for improving substantially upon Morgan’s draft. Imagine the contribution Pearce must have made for a lowly screenwriter to be praised on a press junket by name.) \u003c/p>\n\u003cp>\u003cem>Hobbs & Shaw\u003c/em> sets up as many sequels as its stars will show up for, but in the meantime, this is another entry that has forgotten that Statham’s character murdered Han, the charming racer played by Sung Kang, several movies ago, before someone decided to retcon Shaw into a good guy. Hey, this series only has one self-identified architect and one self-proclaimed visionary. It can’t be expected to sweat the small stuff. But it could use more sweat overall. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"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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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"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",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"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": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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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"source": "kqed",
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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