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"content": "\u003cp>When August and Louis Lumière unveiled their (and the world’s) first motion pictures to a private, invitation-only audience in Paris in 1895, Alice Guy was there. The 22-year-old secretary attended with her boss, Léon Gaumont, a mere ten years older and the head of a camera-equipment company (backed in part by engineer and scientist Gustave Eiffel). Over the next year, while handling the firm’s correspondence and her other duties, Guy set about mastering the technology and operation of the newfangled movie cameras.\u003c/p>\n\u003cp>Envisioning an entire mode of motion pictures beyond “actualities”—the Lumières’ bite-sized portraits of the real world—Guy wrote, produced and directed the first narrative film, \u003ci>The Cabbage Fairy\u003c/i>, in 1896. (Talk about your early adopters.) That was just the beginning: Guy made countless movies in the next decade (from a 23-episode depiction of the Christ saga to gender role-reversal comedies) while she devised and ran Gaumont’s film production arm. She oversaw hundreds of films before moving to the U.S. with her English husband and, eventually, founding a studio in Ft. Lee, New Jersey.\u003c/p>\n\u003cfigure id=\"attachment_13860123\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg\" alt=\"Alice Guy-Blaché (on camera platform behind camera tripod) on the set of 'The Life of Christ in Fontainebleau,' France, in 1906.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13860123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/BeNatural1-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Alice Guy-Blaché (on camera platform behind camera tripod) on the set of ‘The Life of Christ in Fontainebleau,’ France, in 1906. \u003ccite>(Courtesy of Collection Société Française de Photographie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The only part of now-married Alice Guy-Blaché’s saga that isn’t astounding is how she was omitted from the early histories of French cinema, which credited \u003ci>The Cabbage Fairy\u003c/i> to some actor. She devoted the latter decades of her life (with limited success) to correcting the record and tracking down prints of her films, and penning her memoirs (which were rejected by publisher after publisher).\u003c/p>\n\u003cp>Now comes Pamela B. Green, an Angeleno whose globe-hopping dedication to restoring Guy-Blaché’s legacy and introducing her work to current generations of U.S. filmmakers (women and men) is palpable in every fascinating frame of \u003ci>Be Natural: The Untold Story of Alice Guy-Blaché\u003c/i>. (The title comes from the visionary filmmaker’s primary direction to her actors, a modernist maxim emblazoned on signs posted around the studio.)\u003c/p>\n\u003cp>The French may not appreciate the irony of a New World filmmaker reviving an Old World icon, but they fumbled their claim years ago. \u003ci>Be Natural\u003c/i> is an essential contribution to both film scholarship and the movie-lovers canon, a rapid-fire work that is by turns hugely fun and deeply infuriating, transparently feminist and avowedly non-dogmatic.\u003c/p>\n\u003cp>\u003ci>Be Natural\u003c/i> screens June 25 and 26 at the Smith Rafael Film Center in San Rafael and June 24–26 at the Roxie in San Francisco.\u003c/p>\n\u003cp>https://youtu.be/bPUJRtrp_EE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \u003c/p>\n\u003cp>https://youtu.be/BV-WEb2oxLk\u003c/p>\n\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a reversal of the \u003cem>Men in Black\u003c/em> origin story, Thompson’s Agent M isn’t discovered by MIB. It is the other way around, as part of a 20-year quest to find the agency that visited her home as a child. Admiring her initiative, Agent O sends her from New York to the London branch, which is immersed in intrigue surrounding a threat called The Hive. Hemsworth’s Agent H and his former partner, High T (Liam Neeson), saved the world from this same alien species a couple of years before, and now their enemies have taken the form of Les Twins (Laurent and Larry Bourgeois), two shape-shifting siblings from Morocco who are on a trail of destruction. Agent H and Agent M are on the case, joined by a pocket-sized alien wiseacre named Pawny (Kumail Nanjiani), but they begin to suspect that MIB’s house is not in order. \u003c/p>\n\u003cp>There’s a lot of plotting in \u003cem>Men In Black: International\u003c/em>, which makes room for a diabolical three-armed seductress (Rebecca Ferguson) and a compact weapon of planet-destroying power, but the more the story unfurls, the deeper the film sinks into quicksand. Director F. Gary Gray and his screenwriters, Art Marcum and Matt Holloway, have made the crucial mistake of believing the franchise needs complex world-building instead of streamlined comedy. Even if the events in the film made any kind of sense, they were never going to matter as much as the good time Hemsworth, Neeson and the two Thompsons are supposed to be showing us. And yet that’s where the emphasis lies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hemsworth and Tessa Thompson are a proven commodity, having teamed up briefly in \u003cem>Thor: Ragnarok\u003c/em>, perhaps the funniest of all the Marvel movies, but they are too busy hustling around to expensive set pieces to spark off each other. Though Nanjiani’s super-cute alien seems like a leftover from \u003cem>Batteries Not Included\u003c/em>, at least he has some room to toss around insults and witticisms, and improvise his way out of trouble. Whether the franchise can survive without Smith and Jones is an open question, but it can’t live on gadgetry and spy games and an influx of Mos Eisley cantina denizens alone. There has to be chemistry, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Erase+The+Awful+%27Men+In+Black%3A+International%27+From+Your+Mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Hollywood studios are content to cannibalize the vaults in search of new hits, the first thing they should remember is why the original films were hits in the first place. For all the bells and whistles that went along with the original 1997 \u003cem>Men in Black\u003c/em>, with its cutting-edge alien effects, the reason it works is extremely old-fashioned, rooted in an effective cross-pollination between fish-out-of-water comedy and mismatched buddy comedy.\u003c/p>\n\u003cp>There were plenty of laughs in Will Smith’s knockabout reactions to a secret agency tasked with containing the alien underground, and more still in the back-and-forth between him and his crusty counterpart, played by Tommy Lee Jones. No matter how expensive films get, it’s the cheapest business that matter most. \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/BV-WEb2oxLk'\n title='//www.youtube.com/embed/BV-WEb2oxLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though the awful \u003cem>Men in Black: International\u003c/em> is technically a sequel to \u003cem>Men in Black 3\u003c/em>, it’s unlikely that many are immersed enough in the mythology to recall Emma Thompson’s Agent O as the thin connective tissue between them, especially without Smith or Jones in the picture. So it’s really more a stealth reboot with Tessa Thompson in the Smith role of a charismatic new recruit and Chris Hemsworth as the seasoned veteran in the Jones mold, though neither is doing an imitation. Their roles have been reimagined to where there’s hardly any sharp contrasts between them — her confidence is never buffoonish, his experience is never ornery — so the best they can manage is a little light teasing and the occasional moony glance. \u003c/p>\n\u003cp>Yet the true thrust of \u003cem>Men in Black: International\u003c/em> is suggested by its title: What if there were MIB branches around the world? That would mean that the agents are not mere American beat officers, like the Smith/Jones duo, but globe-trotting James Bond types who get whisked from London to Paris to Marrakesh, Morocco, and back again. There’s nothing funny about the concept, but like a 007 thriller, there’s a generous assortment of fashionable outfits, souped-up luxury vehicles and the latest in alien-zapping weaponry, all managed by those cool translucent swipe-screen computers from \u003cem>Minority Report\u003c/em>. More bells and whistles. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It seems obvious to me that the current political reality stems directly from the passing of the World War II generation. It’s more difficult to con and lie about the past, you see, to people who lived through the past. To put it another way, the present moment offers a tough lesson about the importance of knowing history. One of the great merits of independent documentary makers (that we don’t fully appreciate) is their intrepidness in researching, reviving and preserving our collective history—which the powers that be would prefer remain buried and forgotten.\u003c/p>\n\u003cp>Among the many highlights of the San Francisco International LGBTQ+ Festival, a.k.a. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener\" target=\"_blank\">Frameline43\u003c/a>, which runs June 20–30, are revelatory new works by a choice handful of Bay Area filmmakers. Bret Parker and Petey Barma’s \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-windows\" rel=\"noopener\" target=\"_blank\">Through the Windows\u003c/a>\u003c/em> (world premiere, June 24) takes us inside Twin Peaks, the high-windowed bar at the high-visibility corner of Market and Castro. The doc reminds us that it was no small thing for an establishment with a gay clientele to assert its presence so unabashedly in the early 1970s. \u003c/p>\n\u003cfigure id=\"attachment_13859798\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg\" alt=\"Still from 'Through the Window.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-13859798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Through the Window.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more remarkable, though, is the guts it took for each person to walk into Twin Peaks for the first time. Because you could readily be seen from the street or sidewalk, you were effectively making a personal declaration that you were out of the closet. No small thing then, or now.\u003c/p>\n\u003cp>Rob Epstein and Jeffrey Friedman, whose superlative docs (including \u003cem>The Times of Harvey Milk\u003c/em> and \u003cem>Common Threads: Stories from the Quilt\u003c/em>) were instrumental in the evolution of gay rights and queer acceptance, take today’s temperature in their latest, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/state-of-pride\" rel=\"noopener\" target=\"_blank\">State of Pride\u003c/a>\u003c/em> (June 28), made for (and now streaming on) YouTube. The duo accompanies social media activist Raymond Braun on expeditions to Salt Lake City and Tuscaloosa to explore the meaning and value of queer pride celebrations in less-enlightened places, and also turns the camera on San Francisco to probe the significance of pride in our long-established queer community.\u003c/p>\n\u003cfigure id=\"attachment_13859796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg\" alt=\"Still from 'Scream Queen! My Nightmare on Elm Street.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13859796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Scream Queen! My Nightmare on Elm Street.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roman Chimienti and Tyler Jensen’s perfectly titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/scream-queen-my-nightmare-on-elm-street\" rel=\"noopener\" target=\"_blank\">Scream Queen! My Nightmare on Elm Street\u003c/a>\u003c/em> (June 29) delves into the painful personal saga of actor Mark Patton, who thought he was on the highway to success when he was cast as the lead in the 1985 sequel to Wes Craven’s horror hit. Gay and closeted, Patton’s experience on the set and afterward, when the film was reviled and dismissed by fans of the original, was the stuff of nightmares. The reputation of A \u003ci>Nightmare on Elm Street 2: Freddy’s Revenge\u003c/i> has improved somewhat over the years, and Patton looks back at the past he lived through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Charles Rodrigues’ equally well-titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/gay-chorus-deep-south\" rel=\"noopener\" target=\"_blank\">Gay Chorus Deep South\u003c/a>\u003c/em> (closing night, June 30) follows the San Francisco Gay Men’s Chorus on its 2017 tour of the southern U.S. with the Oakland Interfaith Gospel Choir. Cheers, tears and years of family memories and harsh history, along with irresistible performances, propel the film forward out of the darkness. But wasn’t it Mississippi’s favorite son, William Faulkner, who said, “The past is never dead. It’s not even past.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems obvious to me that the current political reality stems directly from the passing of the World War II generation. It’s more difficult to con and lie about the past, you see, to people who lived through the past. To put it another way, the present moment offers a tough lesson about the importance of knowing history. One of the great merits of independent documentary makers (that we don’t fully appreciate) is their intrepidness in researching, reviving and preserving our collective history—which the powers that be would prefer remain buried and forgotten.\u003c/p>\n\u003cp>Among the many highlights of the San Francisco International LGBTQ+ Festival, a.k.a. \u003ca href=\"https://www.frameline.org/festival\" rel=\"noopener\" target=\"_blank\">Frameline43\u003c/a>, which runs June 20–30, are revelatory new works by a choice handful of Bay Area filmmakers. Bret Parker and Petey Barma’s \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/through-the-windows\" rel=\"noopener\" target=\"_blank\">Through the Windows\u003c/a>\u003c/em> (world premiere, June 24) takes us inside Twin Peaks, the high-windowed bar at the high-visibility corner of Market and Castro. The doc reminds us that it was no small thing for an establishment with a gay clientele to assert its presence so unabashedly in the early 1970s. \u003c/p>\n\u003cfigure id=\"attachment_13859798\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg\" alt=\"Still from 'Through the Window.'\" width=\"1200\" height=\"791\" class=\"size-full wp-image-13859798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/ThroughtheWindows01_1200-1020x672.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Through the Window.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even more remarkable, though, is the guts it took for each person to walk into Twin Peaks for the first time. Because you could readily be seen from the street or sidewalk, you were effectively making a personal declaration that you were out of the closet. No small thing then, or now.\u003c/p>\n\u003cp>Rob Epstein and Jeffrey Friedman, whose superlative docs (including \u003cem>The Times of Harvey Milk\u003c/em> and \u003cem>Common Threads: Stories from the Quilt\u003c/em>) were instrumental in the evolution of gay rights and queer acceptance, take today’s temperature in their latest, \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/state-of-pride\" rel=\"noopener\" target=\"_blank\">State of Pride\u003c/a>\u003c/em> (June 28), made for (and now streaming on) YouTube. The duo accompanies social media activist Raymond Braun on expeditions to Salt Lake City and Tuscaloosa to explore the meaning and value of queer pride celebrations in less-enlightened places, and also turns the camera on San Francisco to probe the significance of pride in our long-established queer community.\u003c/p>\n\u003cfigure id=\"attachment_13859796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg\" alt=\"Still from 'Scream Queen! My Nightmare on Elm Street.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13859796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/screamqueen2_1200-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Scream Queen! My Nightmare on Elm Street.’ \u003ccite>(Courtesy of Frameline43)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roman Chimienti and Tyler Jensen’s perfectly titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/scream-queen-my-nightmare-on-elm-street\" rel=\"noopener\" target=\"_blank\">Scream Queen! My Nightmare on Elm Street\u003c/a>\u003c/em> (June 29) delves into the painful personal saga of actor Mark Patton, who thought he was on the highway to success when he was cast as the lead in the 1985 sequel to Wes Craven’s horror hit. Gay and closeted, Patton’s experience on the set and afterward, when the film was reviled and dismissed by fans of the original, was the stuff of nightmares. The reputation of A \u003ci>Nightmare on Elm Street 2: Freddy’s Revenge\u003c/i> has improved somewhat over the years, and Patton looks back at the past he lived through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Charles Rodrigues’ equally well-titled \u003cem>\u003ca href=\"https://www.frameline.org/festival/film-guide/gay-chorus-deep-south\" rel=\"noopener\" target=\"_blank\">Gay Chorus Deep South\u003c/a>\u003c/em> (closing night, June 30) follows the San Francisco Gay Men’s Chorus on its 2017 tour of the southern U.S. with the Oakland Interfaith Gospel Choir. Cheers, tears and years of family memories and harsh history, along with irresistible performances, propel the film forward out of the darkness. But wasn’t it Mississippi’s favorite son, William Faulkner, who said, “The past is never dead. It’s not even past.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Dead Don't Die,' Jim Jarmusch's Ghouls Close in on Chloë Sevigny",
"headTitle": "In ‘The Dead Don’t Die,’ Jim Jarmusch’s Ghouls Close in on Chloë Sevigny | KQED",
"content": "\u003cp>Chloë Sevigny isn’t giving away any of Jim Jarmusch’s secrets. \u003c/p>\n\u003cp>In his new zombie-filled movie \u003cem>The Dead Don’t Die\u003c/em>, the director peppers one of her co-star’s lines with a meta-commentary about having read the script of “Jim’s movie” and the Sturgill Simpson title song that keeps playing on the soundtrack. Having inside information about the plot, Adam Driver, as Officer Ronald Peterson, repeats this phrase every time his small town police force encounters a dead body, “Oh, man. This isn’t gonna end well.”\u003c/p>\n\u003cp>As the living and the undead start to bump into each other, the audience starts to trust Officer Peterson’s assessment of the situation. It’s the driest performance in a laconic movie that suits Jarmusch’s graphic novelistic approach to the subject. As such, it’s easy to imagine speech bubbles appearing right next to the characters’ heads.\u003c/p>\n\u003cp>Driver’s part of a trio of officers alongside Bill Murray as their chief \u003ca href=\"https://www.nytimes.com/2011/09/11/movies/cliff-robertson-oscar-winning-rebel-dies-at-88.html\" target=\"_blank\" rel=\"noopener\">Cliff Robertson\u003c/a> (also the name of an Oscar-winning actor goes, but a name is all they share), and Sevigny as the increasingly unnerved Officer Minerva Morrison. \u003c/p>\n\u003cfigure id=\"attachment_13859556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/iggy.jpg\" alt=\"Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first call to the actress went straight to her voicemail. At the beep, I hear, “If I’m going to die, I want to die in Manhattan.” On my second call, Sevigny confirms that the recording is Pete Campbell’s voice from season two of \u003cem>Mad Men\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What she can’t confirm is why Driver breaks the fourth wall: “I don’t know why he [Jarmusch] put that in there, but I love it. It’s one of my favorite parts of the movie. I love when actors turn to the camera,” she says. \u003c/p>\n\u003cp>Partly as a result, \u003cem>The Dead Don’t Die\u003c/em> may be the un-scariest, most deadpan, zombie movie ever made. It’s a black comedy colored red by piles of guts and spattered gray matter. When Driver (who’s never really in character) comes across the first zombie victims, his response is a carefully measured and wholly accurate, “yuck.”\u003c/p>\n\u003cp>Jarmusch amps up the campy humor with cameo appearances from a beloved, easily recognizable supporting cast. Iggy Pop finds the role of a lifetime as a yellow-eyed ghoul who introduces himself by pushing his hands up from a grave. Carol Kane utters only one word from her undead mouth, “chardonnay.” And, per usual, Tilda Swinton adds her own alien quality to the mix. In this incarnation, her skin is nearly translucent as she wields a samurai sword with the verve and dexterity of \u003cem>The Walking Dead\u003c/em>’s Michonne.\u003c/p>\n\u003cfigure id=\"attachment_13859558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/tilda.jpg\" alt=\"Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the audience’s point of view, it looks like the actors are having a ball. But Sevigny says there wasn’t room for messing around. “It was also very stressful though because Adam was going to shoot \u003cem>Star Wars\u003c/em> [\u003cem>The Rise of Skywalker\u003c/em>], so we didn’t have a lot of time,” she says. “There was a real cap on the days that we could have with him.” Despite those time constraints, Jarmusch managed to create a consistently mordant mood throughout the movie.\u003c/p>\n\u003cp>I ask about a scene she shares with Swinton in \u003cem>The Dead Don’t Die\u003c/em>. “I love Tilda. I love working with her and just being around her and basking in her glow,” she says. “That scene was one of my favorite scenes to do. Minny was very curious about her. They [the officers] talk about her before that scene and I think that they were flirting a little bit.”\u003c/p>\n\u003cp>Sevigny, who previously worked with the director on \u003ca href=\"http://www.focusfeatures.com/broken_flowers\" target=\"_blank\" rel=\"noopener\">\u003ci>Broken Flowers\u003c/i>\u003c/a>, tried to explain how he achieves his particular style. “I think that’s just on the page,” she says. “It’s just in the dialogue … the tone of it. Jim likes to watch people think. He likes a lot of breath between lines and the rhythm is very specific. I don’t think that he even says anything about it.”\u003c/p>\n\u003cp>And with that short bit of reporting, she keeps the Jarmusch mystique intact. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.focusfeatures.com/the-dead-dont-die\" target=\"_blank\" rel=\"noopener\">The Dead Don’t Die\u003c/a>\u003c/em> opens Friday, June 13 at the AMC Kabuki, Landmark Embarcadero Center Cinema and Alamo Drafthouse Cinema.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chloë Sevigny isn’t giving away any of Jim Jarmusch’s secrets. \u003c/p>\n\u003cp>In his new zombie-filled movie \u003cem>The Dead Don’t Die\u003c/em>, the director peppers one of her co-star’s lines with a meta-commentary about having read the script of “Jim’s movie” and the Sturgill Simpson title song that keeps playing on the soundtrack. Having inside information about the plot, Adam Driver, as Officer Ronald Peterson, repeats this phrase every time his small town police force encounters a dead body, “Oh, man. This isn’t gonna end well.”\u003c/p>\n\u003cp>As the living and the undead start to bump into each other, the audience starts to trust Officer Peterson’s assessment of the situation. It’s the driest performance in a laconic movie that suits Jarmusch’s graphic novelistic approach to the subject. As such, it’s easy to imagine speech bubbles appearing right next to the characters’ heads.\u003c/p>\n\u003cp>Driver’s part of a trio of officers alongside Bill Murray as their chief \u003ca href=\"https://www.nytimes.com/2011/09/11/movies/cliff-robertson-oscar-winning-rebel-dies-at-88.html\" target=\"_blank\" rel=\"noopener\">Cliff Robertson\u003c/a> (also the name of an Oscar-winning actor goes, but a name is all they share), and Sevigny as the increasingly unnerved Officer Minerva Morrison. \u003c/p>\n\u003cfigure id=\"attachment_13859556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/iggy.jpg\" alt=\"Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.'\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/iggy-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop stars as “Male Coffee Zombie” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My first call to the actress went straight to her voicemail. At the beep, I hear, “If I’m going to die, I want to die in Manhattan.” On my second call, Sevigny confirms that the recording is Pete Campbell’s voice from season two of \u003cem>Mad Men\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What she can’t confirm is why Driver breaks the fourth wall: “I don’t know why he [Jarmusch] put that in there, but I love it. It’s one of my favorite parts of the movie. I love when actors turn to the camera,” she says. \u003c/p>\n\u003cp>Partly as a result, \u003cem>The Dead Don’t Die\u003c/em> may be the un-scariest, most deadpan, zombie movie ever made. It’s a black comedy colored red by piles of guts and spattered gray matter. When Driver (who’s never really in character) comes across the first zombie victims, his response is a carefully measured and wholly accurate, “yuck.”\u003c/p>\n\u003cp>Jarmusch amps up the campy humor with cameo appearances from a beloved, easily recognizable supporting cast. Iggy Pop finds the role of a lifetime as a yellow-eyed ghoul who introduces himself by pushing his hands up from a grave. Carol Kane utters only one word from her undead mouth, “chardonnay.” And, per usual, Tilda Swinton adds her own alien quality to the mix. In this incarnation, her skin is nearly translucent as she wields a samurai sword with the verve and dexterity of \u003cem>The Walking Dead\u003c/em>’s Michonne.\u003c/p>\n\u003cfigure id=\"attachment_13859558\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/tilda.jpg\" alt=\"Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13859558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/tilda-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tilda Swinton stars as “Zelda Winston” in writer/director Jim Jarmusch’s ‘The Dead Don’t Die.’ \u003ccite>(Focus Features/Frederick Elmes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From the audience’s point of view, it looks like the actors are having a ball. But Sevigny says there wasn’t room for messing around. “It was also very stressful though because Adam was going to shoot \u003cem>Star Wars\u003c/em> [\u003cem>The Rise of Skywalker\u003c/em>], so we didn’t have a lot of time,” she says. “There was a real cap on the days that we could have with him.” Despite those time constraints, Jarmusch managed to create a consistently mordant mood throughout the movie.\u003c/p>\n\u003cp>I ask about a scene she shares with Swinton in \u003cem>The Dead Don’t Die\u003c/em>. “I love Tilda. I love working with her and just being around her and basking in her glow,” she says. “That scene was one of my favorite scenes to do. Minny was very curious about her. They [the officers] talk about her before that scene and I think that they were flirting a little bit.”\u003c/p>\n\u003cp>Sevigny, who previously worked with the director on \u003ca href=\"http://www.focusfeatures.com/broken_flowers\" target=\"_blank\" rel=\"noopener\">\u003ci>Broken Flowers\u003c/i>\u003c/a>, tried to explain how he achieves his particular style. “I think that’s just on the page,” she says. “It’s just in the dialogue … the tone of it. Jim likes to watch people think. He likes a lot of breath between lines and the rhythm is very specific. I don’t think that he even says anything about it.”\u003c/p>\n\u003cp>And with that short bit of reporting, she keeps the Jarmusch mystique intact. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.focusfeatures.com/the-dead-dont-die\" target=\"_blank\" rel=\"noopener\">The Dead Don’t Die\u003c/a>\u003c/em> opens Friday, June 13 at the AMC Kabuki, Landmark Embarcadero Center Cinema and Alamo Drafthouse Cinema.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Now in its second iteration, \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hecho en Mexico\u003c/em>\u003c/a> brings six nonfiction highlights to San Francisco after a banner year for Mexican cinema. Screening June 14–17, the collaboration between \u003cem>\u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más \u003c/a>\u003c/em> and \u003ca href=\"http://www.roxie.com/roxcine/\" target=\"_blank\" rel=\"noopener\">RoxCine\u003c/a> offers a rare opportunity to see award-winning documentaries on the big screen and meet their creators.\u003c/p>\n\u003cp>[aside postID='arts_13858037']\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\u003c/p>\n\u003cp>https://youtu.be/OZfAlqFoWHY\u003c/p>\n\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\n\u003cp>https://vimeo.com/292638670\u003c/p>\n\u003cp>\u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">Hecho en Mexico\u003c/a>\u003cem> is presented by \u003ca href=\"http://www.roxie.com/roxcine/\">RoxCine\u003c/a> with support from \u003ca href=\"https://www.sflatinofilmfestival.org/\">Cine+Más San Francisco Latino Film Festival\u003c/a>, \u003ca href=\"https://www.podersf.org/\">P\u003c/a>\u003ca href=\"https://www.podersf.org/\">ODER SF \u003c/a>and the General Consulate of Mexico in San Francisco. More information on the screenings and Q&As can be found \u003ca href=\"https://www.roxie.com/hecho-en-mexico-2019/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his debut feature \u003cem>\u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-mamacita/\" target=\"_blank\" rel=\"noopener\">Mamacita\u003c/a>, \u003c/em>director José Pablo Estrada Torrescano completes his promise to his 95-year-old grandmother Maria del Carmen Torrescano: a film about her life. The documentary, screening June 14 and 17, tells the story of an extravagant former beauty queen behind a lavish cosmetics empire\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Scaling the walls of Mamacita’s self-made palace, Torrescano discovers deep wounds and familial deception, uncovering the truth behind his grandmother’s past. Intimate interviews with family members and archival footage provide the textural backdrop to this gripping portrait of one matriarch’s legacy and the emotional toll of untold truths.\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/OZfAlqFoWHY'\n title='//www.youtube.com/embed/OZfAlqFoWHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After each seasonal harvest comes \u003ca href=\"https://www.roxie.com/ai1ec_event/hecho-en-mexico-titixe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Titixe\u003c/em>\u003c/a>, or the search for what’s left behind. In another loving tribute to family, filmmaker Tania Hernandez Velasco grapples with the loss of her grandfather and his traditional knowledge of working their ancestral plot of land. After her grandfather’s death, Velasco and her mother convince her grandmother to perform one final black bean harvest. Saturated scenes and quiet moments reveal life in the Mexican countryside, tinged with stories of spirits and the turn of the seasons in a country that has all but forgotten its rural origins in exchange for the endless pursuit of advancement.\u003c/p>\n\u003cp>After the screening on June 16, audiences have an opportunity to speak with the filmmaker’s mother, Yolanda Velasco, one of the subjects and collaborators of the documentary.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>I harbor no nostalgia for John Wayne the man. The actor, however, was unsurpassed at embodying the greatest of American ideals: That the manifestly imperfect United States aspired to be, and strove to be through the leadership of moral men, a more just, fair and protective society for everyone. If it feels more like an illusion than an ideal these days, don’t blame Hollywood.\u003c/p>\n\u003cp>Wayne was blessed, courtesy of the authoritarian director John Ford, with one of the great movie entrances of all time. We hear plenty about the Ringo Kid while we’re introduced to the passengers of \u003cem>Stagecoach\u003c/em> (1939), and the payoff for all that anticipation is irresistible: Towering and virile at the side of the trail, spinning his rifle with confidence and style, Wayne galvanizes the audience’s attention as well as everyone in the coach.\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> (Sunday, June 16 at 11am at \u003ca href=\"https://drafthouse.com/sf/show/stagecoach\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a>) wasn’t Wayne’s screen debut, however, or even his first starring role. Raoul Walsh had chosen him to lead \u003cem>The Big Trail\u003c/em> (1930), and Ford punished Wayne for the best part of a decade before yanking him out of the doghouse.\u003c/p>\n\u003cp>https://youtu.be/OE-VWDsdkwM\u003c/p>\n\u003cp>Westerns were Hollywood’s bread and butter for decades, and \u003cem>Stagecoach\u003c/em> still stands as one the most entertaining and satisfying films ever made in the genre. The passengers—a selfish Yankee banker, a Confederate veteran (and Southern gentleman), a soldier’s pregnant wife, a ruined and alcoholic doctor, a dance hall girl—provide a microcosm of both post-Civil War and post-Depression America, and you’d be surprised how many lines hit home in today’s climate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> is also a foundational classic that laid out types and templates that have influenced Westerns (and neo-Westerns) to this day. The last story in \u003cem>The Ballad of Buster Scruggs\u003c/em> is a direct homage, albeit infused with the Coen Bros.’ postmodern existentialism. The greatest tribute, though, may well be \u003cem>The Hateful Eight\u003c/em>, whose tedious, protracted stagecoach-set beginning only illustrates John Ford’s economy and brilliance. As well as Ford’s talent for creating a distinctive persona for actors like John Wayne, rather than riffing ironically on established personas.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I harbor no nostalgia for John Wayne the man. The actor, however, was unsurpassed at embodying the greatest of American ideals: That the manifestly imperfect United States aspired to be, and strove to be through the leadership of moral men, a more just, fair and protective society for everyone. If it feels more like an illusion than an ideal these days, don’t blame Hollywood.\u003c/p>\n\u003cp>Wayne was blessed, courtesy of the authoritarian director John Ford, with one of the great movie entrances of all time. We hear plenty about the Ringo Kid while we’re introduced to the passengers of \u003cem>Stagecoach\u003c/em> (1939), and the payoff for all that anticipation is irresistible: Towering and virile at the side of the trail, spinning his rifle with confidence and style, Wayne galvanizes the audience’s attention as well as everyone in the coach.\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> (Sunday, June 16 at 11am at \u003ca href=\"https://drafthouse.com/sf/show/stagecoach\" rel=\"noopener\" target=\"_blank\">Alamo Drafthouse\u003c/a>) wasn’t Wayne’s screen debut, however, or even his first starring role. Raoul Walsh had chosen him to lead \u003cem>The Big Trail\u003c/em> (1930), and Ford punished Wayne for the best part of a decade before yanking him out of the doghouse.\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/OE-VWDsdkwM'\n title='//www.youtube.com/embed/OE-VWDsdkwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Westerns were Hollywood’s bread and butter for decades, and \u003cem>Stagecoach\u003c/em> still stands as one the most entertaining and satisfying films ever made in the genre. The passengers—a selfish Yankee banker, a Confederate veteran (and Southern gentleman), a soldier’s pregnant wife, a ruined and alcoholic doctor, a dance hall girl—provide a microcosm of both post-Civil War and post-Depression America, and you’d be surprised how many lines hit home in today’s climate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stagecoach\u003c/em> is also a foundational classic that laid out types and templates that have influenced Westerns (and neo-Westerns) to this day. The last story in \u003cem>The Ballad of Buster Scruggs\u003c/em> is a direct homage, albeit infused with the Coen Bros.’ postmodern existentialism. The greatest tribute, though, may well be \u003cem>The Hateful Eight\u003c/em>, whose tedious, protracted stagecoach-set beginning only illustrates John Ford’s economy and brilliance. As well as Ford’s talent for creating a distinctive persona for actors like John Wayne, rather than riffing ironically on established personas.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As much as we like to talk about learning from the past, how often do we do the hard work actually revisiting it? Yes, I’m talking about time travel. And while people outside the Marvel Cinematic Universe haven’t figured this one out yet, we mere mortals \u003ci>do\u003c/i> get an approximation of the effect in the form of archives, those priceless collections of primary source documents.\u003c/p>\n\u003cp>In the vast world of archives, there is perhaps none like Marion Stokes’ collection of over 70,000 VHS tapes, her attempt to capture every minute of television news beginning in 1979 and ending only with her death in 2012.\u003c/p>\n\u003cp>Filmmaker \u003ca href=\"https://mattwolf.info/\" target=\"_blank\" rel=\"noopener\">Matt Wolf\u003c/a> delved into Stokes’ collection to create \u003ci>\u003ca href=\"https://recorderfilm.com/\" target=\"_blank\" rel=\"noopener\">Recorder: The Marion Stokes Project\u003c/a>\u003c/i>, a documentary that is as much a portrait of the history of television as it is a portrait of the Philadelphia recluse at its center. Playing June 8 (tickets at rush) and June 10 at the Roxie Theater as part of \u003ca href=\"https://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=446969~675e319f-e7c4-4a79-a043-594a140375bb&epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&\" target=\"_blank\" rel=\"noopener\">SF DocFest\u003c/a>, \u003ci>Recorder\u003c/i> is the story of a woman on a mission to protect the truth.\u003c/p>\n\u003cp>With a background as a radical communist, librarian and public affairs television host, Stokes began recording the news during the Iranian Hostage crisis. (This, the film points out, was the dawn of the 24-hour news cycle.) Stokes captured not just the subjects of the news, but the everyday ephemera of commercials, advances in television graphics, shifts in fashion and, of course, hairstyles.\u003c/p>\n\u003cp>Today, the physical tapes reside at the \u003ca href=\"https://blog.archive.org/2019/05/24/71716-video-tapes-in-12094-days/\" target=\"_blank\" rel=\"noopener\">Internet Archive\u003c/a>, to which Stokes’ son donated the collection after her death. Eventually, these three-decades-worth of television will be digitized for all to see, but until we’re all able to dip into that mode of time travel, \u003ci>Recorder\u003c/i> is providing festival audiences with a portal to the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Dark Phoenix' Channels The Cosmic Power Of The Comics, Avoids Going Down In Flames",
"headTitle": "‘Dark Phoenix’ Channels The Cosmic Power Of The Comics, Avoids Going Down In Flames | KQED",
"content": "\u003cp>“HEAR ME, X-MEN! NO LONGER am I the woman you KNEW! I AM FIRE! I AM LIFE INCARNATE! Now and FOREVER … I AM PHOENIX!”\u003c/p>\n\u003cp>That’s how the character of Jean Grey, powerful telekinetic telepath and charter member of the X-Men, reintroduced herself to her teammates in 1976’s \u003cem>Uncanny X-Men #101\u003c/em>, shortly after she was seemingly killed by a solar flare while on a space mission. \u003c/p>\n\u003cp>Everything about that moment was swoony, operatic, larger-than-life: the energy that wreathed her body without consuming it (later revealed to be a cosmic entity of immeasurable power bonded to Jean’s body and mind); the way her long red hair billowed around her face as if the artist had caught her midway through her DryBar appointment; her eyes, now as disquietingly white as a Harold Bloom syllabus; the newly jagged shape of her word balloons (comics shorthand for “somethin’s hinky here”); her new superhero outfit, a green jumpsuit replete with shiny gold thigh boots, shiny gold evening gloves and, most Marvel-ously, a shiny gold sash tied at, and hanging with a kind of kicky insouciance from, her hip. \u003c/p>\n\u003cp>(The sash, you guys. The \u003cem>sash\u003c/em>.)\u003c/p>\n\u003cp>And then there was that dialogue, of course. At once chewily grandiloquent (“HEAR ME, X-MEN!”), vaguely redundant (“life incarnate,” really?), and also, in one important respect (“Now and FOREVER … I AM PHOENIX!”) factually wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because just 33 issues later, the character called Phoenix underwent a heel-turn, attacked her teammates, and announced a new, \u003cem>new \u003c/em>moniker (being careful to do so in the third person, as villains are so dang wont to do).\u003c/p>\n\u003cp>“Ask not for pity from DARK PHOENIX … There is none in her.”\u003c/p>\n\u003cp>So began the Dark Phoenix Saga, arguably superhero comics’ most beloved storyline. \u003c/p>\n\u003cp>Why? Well, for one thing: that \u003cem>sash tho.\u003c/em>\u003c/p>\n\u003cp>But sure, also it was full of angst and heartbreak and betrayals and tragedy and the kind of truly cosmic stakes that were still rare even for Marvel superhero comics (read: Dark Phoenix eats a sun—I’ll repeat that for those in the back—homegirl \u003cem>EATS\u003c/em> a damn \u003cem>SUN\u003c/em>, wiping out a planet of 5 million beings in the process).\u003c/p>\n\u003cp>It was a time, in comics, when both characters and narrators had grown particularly chatty; Chris Claremont’s word balloons and expository text so crowded John Byrne and Terry Austin’s panels you often felt like you had to crane your neck to make out what the hell was going on.\u003c/p>\n\u003cp>Even so: The Dark Phoenix Saga held, and holds, a powerful grip on comics readers’ hearts. It’s been reprinted and revisited often, on and off the four-color page. (Makes sense that the character would keep coming back: She’s called \u003cem>Phoenix\u003c/em>, fer pity’s sake, and superhero narratives would never leave a lily like that un-gilded.) The ’90s animated \u003cem>X-Men\u003c/em> series faithfully adapted her tragic tale, ensuring its narrative virus would invade a new generation of hosts. Brett Ratner’s messy 2006 \u003cem>X-Men: The Last Stand \u003c/em>watered it down to a thin, nearly unrecognizable gruel flecked across its 104-minute running time; in his hammy fists, what was once a stirring saga became hopelessly saggy. \u003c/p>\n\u003cp>X-Men properties work, to the extent they do, by adopting a mutants-as-metaphor approach to storytelling. Our heroes are outcasts, freaks, feared by “normal” humans, which tees them up quite tidily to serve as symbolic stand-ins for any Other you care to name. In the civil rights ’60s, X-Men stories resonated most strongly as racial allegories. Director Bryan Singer brought out their queer subtext (“Have you tried … \u003cem>not \u003c/em>being a mutant?”), but the Dark Phoenix Saga was written in the era of the ERA and functions as a broad, unmissable feminist metaphor for the struggle of women to achieve and exert control over their own destinies.\u003c/p>\n\u003cp>It’s not … an \u003cem>un\u003c/em>problematic one, on the surface at least. I mean: It’s about a woman who regularly loses control of herself and her emotions (geddit?), endangering the men and women (mostly men) around her. Also she’s becoming \u003cem>even more powerful than her male teammates \u003c/em>(gasp! horror!) so naturally she must be stopped, right? Turns out, the only thing that \u003cem>can \u003c/em>keep her in check is the unfathomable love (unfathomable as in: very deep, and also as in: difficult to fathom) she feels for Her Man, an emo jock hiding behind his ruby-quartz Foster Grants.\u003c/p>\n\u003cp>But there’s something else, something a bit deeper at work. Because the Dark Phoenix Saga ultimately revealed itself to be about Jean’s realization that she’d been the victim of psychic manipulation by two men—the evil Mastermind (see above, re: on-the-nose naming conventions) and the well-intentioned Professor Xavier. We learn that Jean’s power isn’t a result of her “losing control” exactly—rather, it stems from her rejecting patriarchal attempts to assume control over her by these two men, who wish to channel her power for their own reasons. She rejects them, and gets some satisfyingly nasty revenge on Mastermind, while giving Professor X, Cyclops and the rest of the X-Men a kind of cosmic hit-the-bricks. (Technically, she sacrifices herself to protect them from the dark entity inside her, but we’re talking \u003cem>overarching \u003c/em>metaphor, here.) \u003c/p>\n\u003cp>The Dark Phoenix Saga, folks: Over-the-top, swing-for-the-fences cosmic storytelling, full of purple prose and turgid dialogue and overwrought, gleefully melodramatic excess.\u003c/p>\n\u003cp>In other words: It’s quintessential X-Men.\u003c/p>\n\u003cp>https://youtu.be/azvR__GRQic\u003c/p>\n\u003cp>Which brings us, finally, to the film \u003cem>Dark Phoenix\u003c/em>. Appropriately enough, in a movie named for a bird that features largely in ancient myth, it’s a swan song, of sorts. Barring the long-delayed \u003cem>New Mutants \u003c/em>(currently slated for April of next year), \u003cem>Dark Phoenix\u003c/em> would seem to be the film that turns out the lights and locks the doors on Twentieth Century Fox’s corner of the Marvel universe. And what better way to do so than with a story full of hubris and tragedy and sundry finalities, big and small.\u003c/p>\n\u003cp>Yeah, well.\u003c/p>\n\u003cp>Remember how I said how the Dark Phoenix Saga in the comics (and to a lesser extent, the animated series), was marked by overwrought, gleefully melodramatic excess?\u003c/p>\n\u003cp>\u003cem>Dark Phoenix\u003c/em> gets it half right. It’s overwrought. It’s melodramatic. And X-Men being X-Men, that’s actually two marks in the win column.\u003c/p>\n\u003cp>But there’s no swoony excess here, and \u003cem>certainly \u003c/em>nothing gleeful. \u003cem>Dour Phoenix\u003c/em>, more like.\u003c/p>\n\u003cp>As written and directed by Simon Kinberg, who’s co-written and produced a few X-films before this, it feels sized down to the scale of the first prequel, \u003cem>X-Men: First Class\u003c/em>. That’s not a bad thing: That stylish little 2011 film gave the franchise a much-needed clean bill of health by cutting out the bloat of \u003cem>X-Men: Last Stand\u003c/em> and introducing James McAvoy and Michael Fassbender as Charles “Professor X” Xavier and Erik “Magneto” Lehnsherr. McAvoy was charming, Fassbender wore a crisp white shirt and killed Nazis. Talk about gleeful.\u003c/p>\n\u003cp>But the bloat seeped back into the franchise gradually, and with Singer’s disastrous, puzzling \u003cem>X-Men: Apocalypse\u003c/em>, it threatened to kill the patient. \u003cem>Dark Phoenix\u003c/em>—smartly, I think—keeps the cosmic action of the comics largely earthbound. Even smartly-er, it comes in at under two hours. We lose the saga’s sweep and scope, and when it comes to Jean’s ultimate culpability in this Dark Phoenix’s (much much more modest) body count, the film cheats a bit—but then, so did the comics, after the fact. \u003c/p>\n\u003cp>Characters turn against one another in ways that the comics had ample time to lay plenty of track for, but that the film can’t and doesn’t. The dialogue is clunky, and at times it turns so deeply purple you expect it to break into “Smoke on the Water”—but hey, it’s X-Men. The closest thing we get to a joke is a scene in which McAvoy gets to call up the surprising smarminess he brought to the Xavier character in \u003cem>First Class\u003c/em>, as he soaks up the adulation of a grateful nation at an event in the White House. \u003c/p>\n\u003cp>\u003cem>Days of Future Past,\u003c/em> as you may recall, featured an assured, innovative set-piece involving the speedster Quicksilver (Evan Peters) running around a room so fast it appeared the world had stopped around him. There’s nothing that matches that bracing newness here, and in fact the only truly memorable set-piece occurs aboard a train at the film’s climax. The special effects are so matter-of-factly mapped onto the world of the film that they soon cease to register as special—which is the goal, after all. \u003c/p>\n\u003cp>Nowadays we’re inundated with films that teem with characters who hurl plasma bolts or unleash psychic blasts or channel magnetic waves or whatever. Teams of CGI professionals are tasked with animating those uncanny forces so convincingly we temporarily forget that these movies often just come down to two or more obscenely paid, classically trained actors standing stock-still in the middle of a soundstage while grimacing at each other.\u003c/p>\n\u003cp>(We \u003cem>do \u003c/em>get some heroes battling other heroes on the streets of Manhattan, as any true-believin’ Marvel fan expects and demands.)\u003c/p>\n\u003cp>The smartest and best thing about \u003cem>Dark Phoenix \u003c/em>is its willingness to directly engage with, and update, the metaphorical work the original saga began; the film is much more clearly concerned with Jean’s empowerment and triumph over patriarchal meddling. The stand-in for the evil Mastermind here (Jessica Chastain in an Edgar Winter wig) instead urges her to reject the roles imposed on her by men. Mystique (Jennifer Lawrence) repeatedly calls McAvoy’s Xavier on the carpet for his motivations in general and his manipulation of Jean in particular. \u003c/p>\n\u003cp>They may be the only two distinct female voices in the movie, but they both happen to be exactly right. That’s not nothing. \u003c/p>\n\u003cp>It’s … \u003cem>close\u003c/em> to nothing, but it’s not nothing.\u003c/p>\n\u003cp>A film that exactingly reproduced the Dark Phoenix Saga of the comics would never have worked—it’s impossible to collapse years of comics storytelling, especially the verbose, Byzantine comics storytelling of that particular era, into a two- or even three-hour movie. I understand that.\u003c/p>\n\u003cp>I understand, too, that Phoenix’s garish comic-book costume, wildly impractical as it was, would never translate to film. (Gold evening gloves? Honey, are you challenging someone to \u003cem>arin’n haelar\u003c/em>, the Shi’ar Duel of Honor That Cannot Be Refused, or are you headed to Studio 54?)\u003c/p>\n\u003cp>So I understand why the film instead fits our doughty heroes into matchy-matchy black leather jackets emblazoned with bright yellow X-s. It’s practical, it’s butch and it’s way more functional than that jauntily tied but completely superfluous hip-sash.\u003c/p>\n\u003cp>I miss the hip-sash, though, and I always will. It would have been nice to leave this small, dark, weird corner of the Marvel Universe with an adaptation of a story beloved by millions of fans that managed to stick the dismount. But that’s not what we get here. \u003c/p>\n\u003cp>If it’s truly better to burn out than fade away, \u003cem>Dark Phoenix\u003c/em> contents itself with the latter.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“HEAR ME, X-MEN! NO LONGER am I the woman you KNEW! I AM FIRE! I AM LIFE INCARNATE! Now and FOREVER … I AM PHOENIX!”\u003c/p>\n\u003cp>That’s how the character of Jean Grey, powerful telekinetic telepath and charter member of the X-Men, reintroduced herself to her teammates in 1976’s \u003cem>Uncanny X-Men #101\u003c/em>, shortly after she was seemingly killed by a solar flare while on a space mission. \u003c/p>\n\u003cp>Everything about that moment was swoony, operatic, larger-than-life: the energy that wreathed her body without consuming it (later revealed to be a cosmic entity of immeasurable power bonded to Jean’s body and mind); the way her long red hair billowed around her face as if the artist had caught her midway through her DryBar appointment; her eyes, now as disquietingly white as a Harold Bloom syllabus; the newly jagged shape of her word balloons (comics shorthand for “somethin’s hinky here”); her new superhero outfit, a green jumpsuit replete with shiny gold thigh boots, shiny gold evening gloves and, most Marvel-ously, a shiny gold sash tied at, and hanging with a kind of kicky insouciance from, her hip. \u003c/p>\n\u003cp>(The sash, you guys. The \u003cem>sash\u003c/em>.)\u003c/p>\n\u003cp>And then there was that dialogue, of course. At once chewily grandiloquent (“HEAR ME, X-MEN!”), vaguely redundant (“life incarnate,” really?), and also, in one important respect (“Now and FOREVER … I AM PHOENIX!”) factually wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because just 33 issues later, the character called Phoenix underwent a heel-turn, attacked her teammates, and announced a new, \u003cem>new \u003c/em>moniker (being careful to do so in the third person, as villains are so dang wont to do).\u003c/p>\n\u003cp>“Ask not for pity from DARK PHOENIX … There is none in her.”\u003c/p>\n\u003cp>So began the Dark Phoenix Saga, arguably superhero comics’ most beloved storyline. \u003c/p>\n\u003cp>Why? Well, for one thing: that \u003cem>sash tho.\u003c/em>\u003c/p>\n\u003cp>But sure, also it was full of angst and heartbreak and betrayals and tragedy and the kind of truly cosmic stakes that were still rare even for Marvel superhero comics (read: Dark Phoenix eats a sun—I’ll repeat that for those in the back—homegirl \u003cem>EATS\u003c/em> a damn \u003cem>SUN\u003c/em>, wiping out a planet of 5 million beings in the process).\u003c/p>\n\u003cp>It was a time, in comics, when both characters and narrators had grown particularly chatty; Chris Claremont’s word balloons and expository text so crowded John Byrne and Terry Austin’s panels you often felt like you had to crane your neck to make out what the hell was going on.\u003c/p>\n\u003cp>Even so: The Dark Phoenix Saga held, and holds, a powerful grip on comics readers’ hearts. It’s been reprinted and revisited often, on and off the four-color page. (Makes sense that the character would keep coming back: She’s called \u003cem>Phoenix\u003c/em>, fer pity’s sake, and superhero narratives would never leave a lily like that un-gilded.) The ’90s animated \u003cem>X-Men\u003c/em> series faithfully adapted her tragic tale, ensuring its narrative virus would invade a new generation of hosts. Brett Ratner’s messy 2006 \u003cem>X-Men: The Last Stand \u003c/em>watered it down to a thin, nearly unrecognizable gruel flecked across its 104-minute running time; in his hammy fists, what was once a stirring saga became hopelessly saggy. \u003c/p>\n\u003cp>X-Men properties work, to the extent they do, by adopting a mutants-as-metaphor approach to storytelling. Our heroes are outcasts, freaks, feared by “normal” humans, which tees them up quite tidily to serve as symbolic stand-ins for any Other you care to name. In the civil rights ’60s, X-Men stories resonated most strongly as racial allegories. Director Bryan Singer brought out their queer subtext (“Have you tried … \u003cem>not \u003c/em>being a mutant?”), but the Dark Phoenix Saga was written in the era of the ERA and functions as a broad, unmissable feminist metaphor for the struggle of women to achieve and exert control over their own destinies.\u003c/p>\n\u003cp>It’s not … an \u003cem>un\u003c/em>problematic one, on the surface at least. I mean: It’s about a woman who regularly loses control of herself and her emotions (geddit?), endangering the men and women (mostly men) around her. Also she’s becoming \u003cem>even more powerful than her male teammates \u003c/em>(gasp! horror!) so naturally she must be stopped, right? Turns out, the only thing that \u003cem>can \u003c/em>keep her in check is the unfathomable love (unfathomable as in: very deep, and also as in: difficult to fathom) she feels for Her Man, an emo jock hiding behind his ruby-quartz Foster Grants.\u003c/p>\n\u003cp>But there’s something else, something a bit deeper at work. Because the Dark Phoenix Saga ultimately revealed itself to be about Jean’s realization that she’d been the victim of psychic manipulation by two men—the evil Mastermind (see above, re: on-the-nose naming conventions) and the well-intentioned Professor Xavier. We learn that Jean’s power isn’t a result of her “losing control” exactly—rather, it stems from her rejecting patriarchal attempts to assume control over her by these two men, who wish to channel her power for their own reasons. She rejects them, and gets some satisfyingly nasty revenge on Mastermind, while giving Professor X, Cyclops and the rest of the X-Men a kind of cosmic hit-the-bricks. (Technically, she sacrifices herself to protect them from the dark entity inside her, but we’re talking \u003cem>overarching \u003c/em>metaphor, here.) \u003c/p>\n\u003cp>The Dark Phoenix Saga, folks: Over-the-top, swing-for-the-fences cosmic storytelling, full of purple prose and turgid dialogue and overwrought, gleefully melodramatic excess.\u003c/p>\n\u003cp>In other words: It’s quintessential X-Men.\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/azvR__GRQic'\n title='//www.youtube.com/embed/azvR__GRQic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which brings us, finally, to the film \u003cem>Dark Phoenix\u003c/em>. Appropriately enough, in a movie named for a bird that features largely in ancient myth, it’s a swan song, of sorts. Barring the long-delayed \u003cem>New Mutants \u003c/em>(currently slated for April of next year), \u003cem>Dark Phoenix\u003c/em> would seem to be the film that turns out the lights and locks the doors on Twentieth Century Fox’s corner of the Marvel universe. And what better way to do so than with a story full of hubris and tragedy and sundry finalities, big and small.\u003c/p>\n\u003cp>Yeah, well.\u003c/p>\n\u003cp>Remember how I said how the Dark Phoenix Saga in the comics (and to a lesser extent, the animated series), was marked by overwrought, gleefully melodramatic excess?\u003c/p>\n\u003cp>\u003cem>Dark Phoenix\u003c/em> gets it half right. It’s overwrought. It’s melodramatic. And X-Men being X-Men, that’s actually two marks in the win column.\u003c/p>\n\u003cp>But there’s no swoony excess here, and \u003cem>certainly \u003c/em>nothing gleeful. \u003cem>Dour Phoenix\u003c/em>, more like.\u003c/p>\n\u003cp>As written and directed by Simon Kinberg, who’s co-written and produced a few X-films before this, it feels sized down to the scale of the first prequel, \u003cem>X-Men: First Class\u003c/em>. That’s not a bad thing: That stylish little 2011 film gave the franchise a much-needed clean bill of health by cutting out the bloat of \u003cem>X-Men: Last Stand\u003c/em> and introducing James McAvoy and Michael Fassbender as Charles “Professor X” Xavier and Erik “Magneto” Lehnsherr. McAvoy was charming, Fassbender wore a crisp white shirt and killed Nazis. Talk about gleeful.\u003c/p>\n\u003cp>But the bloat seeped back into the franchise gradually, and with Singer’s disastrous, puzzling \u003cem>X-Men: Apocalypse\u003c/em>, it threatened to kill the patient. \u003cem>Dark Phoenix\u003c/em>—smartly, I think—keeps the cosmic action of the comics largely earthbound. Even smartly-er, it comes in at under two hours. We lose the saga’s sweep and scope, and when it comes to Jean’s ultimate culpability in this Dark Phoenix’s (much much more modest) body count, the film cheats a bit—but then, so did the comics, after the fact. \u003c/p>\n\u003cp>Characters turn against one another in ways that the comics had ample time to lay plenty of track for, but that the film can’t and doesn’t. The dialogue is clunky, and at times it turns so deeply purple you expect it to break into “Smoke on the Water”—but hey, it’s X-Men. The closest thing we get to a joke is a scene in which McAvoy gets to call up the surprising smarminess he brought to the Xavier character in \u003cem>First Class\u003c/em>, as he soaks up the adulation of a grateful nation at an event in the White House. \u003c/p>\n\u003cp>\u003cem>Days of Future Past,\u003c/em> as you may recall, featured an assured, innovative set-piece involving the speedster Quicksilver (Evan Peters) running around a room so fast it appeared the world had stopped around him. There’s nothing that matches that bracing newness here, and in fact the only truly memorable set-piece occurs aboard a train at the film’s climax. The special effects are so matter-of-factly mapped onto the world of the film that they soon cease to register as special—which is the goal, after all. \u003c/p>\n\u003cp>Nowadays we’re inundated with films that teem with characters who hurl plasma bolts or unleash psychic blasts or channel magnetic waves or whatever. Teams of CGI professionals are tasked with animating those uncanny forces so convincingly we temporarily forget that these movies often just come down to two or more obscenely paid, classically trained actors standing stock-still in the middle of a soundstage while grimacing at each other.\u003c/p>\n\u003cp>(We \u003cem>do \u003c/em>get some heroes battling other heroes on the streets of Manhattan, as any true-believin’ Marvel fan expects and demands.)\u003c/p>\n\u003cp>The smartest and best thing about \u003cem>Dark Phoenix \u003c/em>is its willingness to directly engage with, and update, the metaphorical work the original saga began; the film is much more clearly concerned with Jean’s empowerment and triumph over patriarchal meddling. The stand-in for the evil Mastermind here (Jessica Chastain in an Edgar Winter wig) instead urges her to reject the roles imposed on her by men. Mystique (Jennifer Lawrence) repeatedly calls McAvoy’s Xavier on the carpet for his motivations in general and his manipulation of Jean in particular. \u003c/p>\n\u003cp>They may be the only two distinct female voices in the movie, but they both happen to be exactly right. That’s not nothing. \u003c/p>\n\u003cp>It’s … \u003cem>close\u003c/em> to nothing, but it’s not nothing.\u003c/p>\n\u003cp>A film that exactingly reproduced the Dark Phoenix Saga of the comics would never have worked—it’s impossible to collapse years of comics storytelling, especially the verbose, Byzantine comics storytelling of that particular era, into a two- or even three-hour movie. I understand that.\u003c/p>\n\u003cp>I understand, too, that Phoenix’s garish comic-book costume, wildly impractical as it was, would never translate to film. (Gold evening gloves? Honey, are you challenging someone to \u003cem>arin’n haelar\u003c/em>, the Shi’ar Duel of Honor That Cannot Be Refused, or are you headed to Studio 54?)\u003c/p>\n\u003cp>So I understand why the film instead fits our doughty heroes into matchy-matchy black leather jackets emblazoned with bright yellow X-s. It’s practical, it’s butch and it’s way more functional than that jauntily tied but completely superfluous hip-sash.\u003c/p>\n\u003cp>I miss the hip-sash, though, and I always will. It would have been nice to leave this small, dark, weird corner of the Marvel Universe with an adaptation of a story beloved by millions of fans that managed to stick the dismount. But that’s not what we get here. \u003c/p>\n\u003cp>If it’s truly better to burn out than fade away, \u003cem>Dark Phoenix\u003c/em> contents itself with the latter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right",
"headTitle": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right | KQED",
"content": "\u003cp>Joe Talbot and Jimmie Fails’ ambitious, soulful and clear-eyed debut feature, \u003cem>The Last Black Man in San Francisco\u003c/em>, offers new evidence of a longstanding truth: Nobody sees this city, and the determined nonconformists who make it their home for a while or forever, like the independent filmmakers who live here.\u003c/p>\n\u003cp>Sure, \u003cem>Vertigo\u003c/em> and \u003cem>Mrs. Doubtfire\u003c/em> will always epitomize San Francisco for the masses. But low-budget indies like \u003cem>Heat and Sunlight\u003c/em> (1987), \u003cem>Steal America\u003c/em> (1992), \u003cem>Dream with the Fishes\u003c/em> (1997), \u003cem>North Beach\u003c/em> (2000), \u003cem>Haiku Tunnel\u003c/em> (2001), \u003cem>Medicine for Melancholy\u003c/em> (2008) and \u003cem>Centaur\u003c/em> (2011) captured the zeitgeist of the moment by etching outcasts and artists (not to mention blocks and neighborhoods) more familiar to residents than tourists.\u003c/p>\n\u003cp>That should be a sufficient argument for \u003cem>The Last Black Man in San Francisco\u003c/em> (opening June 7) to be essential viewing for locals. Even better, it’s strewn with ideas without being show-offy, it’s earnest yet unsentimental, and penetrating without being moralistic. As a bonus, Talbot, Fails and their cohorts deftly integrate into the subtly multilayered and multigenerational plot subjects like Jefferson Airplane and Giants fandom, Hunters Point redevelopment and Chinatown fish stands, former Mabuhay Gardens punks and ’00s indie-film wannabe hipsters, interactions on Muni and the solitude of the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13859146\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg\" alt=\"Danny Glover and Jonathan Majors in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover and Jonathan Majors in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot, which draws on Fails’ life story, centers on a young black guy (played by Fails) with no permanent residence who’s fixated on the great Fillmore house where his family lived when Jimmy was a boy and which, his father endlessly recounted, his grandfather built. At the start of the story, Jimmy is crashing with best friend Mont (a would-be playwright, played by Jonathan Majors) and Mont’s blind grandfather (Danny Glover, delivering sardonic line readings and representing San Francisco’s once-thriving black middle class).\u003c/p>\n\u003cp>“Every draft had a lot going on from the beginning,” Talbot relates in an interview last week. “Lots of characters and locations that are supposed to evoke feelings of a certain San Francisco. The friendship. Jimmy being in both Hunters Point and the house in the Fillmore, and the different relationships he has in each area. If you lose the friendship, you lose the grounding force. If you lose the elements of the city, you lose what’s so special about San Francisco and why it’s worth fighting for. If you lose the house, you lose the love story. All those things are integral to the film and to Jimmy’s character.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most obvious way to watch \u003cem>The Last Black Man in San Francisco\u003c/em> is as a parable of gentrification, and a lament for the people pushed out of their homes and ’hoods by economic pressures. That theme, along with the variety of sympathetic representations of black identity, give the movie a national relevance that allows it to travel (and succeed) far beyond its hometown.\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In cinema, you often see black men portrayed in a certain way,” Fails says. “Athlete, drug dealer, slave—if it’s a period piece. In a modern way, we just wanted to explore all the different types of black people there are—black men, especially, the different nuances and things that set them apart.”\u003c/p>\n\u003cp>A few minutes later, in another room of the Nob Hill hotel where the press day is being held, Rob Morgan (\u003cem>Mudbound\u003c/em>) reframes an overly polite question on the same subject. “How refreshing was it to see some real black men on screen, finally!” he declares with a loud laugh. Morgan plays Jimmy’s father as a suspicious, unbending and unexpectedly elegant man who’s nonetheless past his salad days. But he’s not a villain, which, in another movie, he could be. Or his character might be absent altogether.\u003c/p>\n\u003cp>“It’s been documented how networks and production companies strategically take out the black male presence of the father in movies and TV shows,” Morgan asserts, “and that reflects the society at the same time. Art reflects life; life reflects art. So for 50 years you just keep seeing movies with no black fathers, or he’s a deadbeat or behind on child support, he’s getting killed or he’s in prison. Something that’s just tired, because we see it all the time, and I think that informs society on how to respond to black men in a lot of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13859145\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg\" alt=\"Rob Morgan and Jimmie Fails in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rob Morgan and Jimmie Fails in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tichina Arnold, a fellow New Yorker who plays Jimmie’s sharp, no-nonsense Aunt Wanda, nods and adds, “I hadn’t had a lot of films cross my path to audition for that were good. But this script resonated with me because it was poetic. And I’m one of the only female characters that the main character does love; he has no love interest. His love interest is that home.”\u003c/p>\n\u003cp>In addition to the script, Arnold was impelled to do the film because of the dynamic between Talbot and Fails. The Sundance jury picked up on it in the finished film, awarding a prize for creative collaboration along with best director.\u003c/p>\n\u003cp>Talbot notes, “I found a friend in Jimmy when we met [many years ago], and a creative collaborator, and someone who stars in pretty much everything I’ve ever made as a filmmaker.”\u003c/p>\n\u003cp>When they finally got into production, Fails discovered that playing himself—or a version of himself—was the strangest feeling. “It’s weird. Sometimes you don’t feel like you’re getting in the character, per se, you’re just getting into a space that you need to be in for this scene.”\u003c/p>\n\u003cfigure id=\"attachment_13859143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg\" alt=\"Tichina Arnold in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tichina Arnold in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His first and foremost passion was music, Fails says, and he admits he was transformed by the process of making \u003cem>The Last Black Man in San Francisco\u003c/em>. “I never saw acting as storytelling before, for some reason,” he confides. “I saw it as art, but I didn’t see it as storytelling. Now I see it as deeper than that, and I love to do it and I’m sticking with that now.”\u003c/p>\n\u003cp>For his part, Talbot says, “I don’t know that every actor has that ability to both perform and be analytical. That’s an incredible thing to be able to do.”\u003c/p>\n\u003cp>By the way, there’s another key Bay Area independent feature that is explicitly referenced in \u003cem>The Last Black Man in San Francisco\u003c/em>, and that’s Terry Zwigoff’s wonderful \u003cem>Ghost World\u003c/em> (2001). (I disqualified it from my list at the top because it was filmed in Southern California.)\u003c/p>\n\u003cp>Talbot saw Zwigoff’s adaptation of Daniel Clowes’ graphic novel in high school, and grew up not far from the director on Potrero Hill. Fans of \u003cem>Ghost World\u003c/em>—and \u003cem>The Last Black Man in San Francisco\u003c/em>—will appreciate the joke that Talbot and Thora Birch shared when he was casting her: “It’s kind of as if Enid moved to San Francisco and got a job she hated in tech and never got off the bus at the end of the movie.”\u003c/p>\n\u003cfigure id=\"attachment_13859144\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg\" alt=\"Jimmie Fails and Joe Talbot in San Francisco.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and Joe Talbot in San Francisco. \u003ccite>(Photo by Adam Newport-Berra; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fails and Talbot are too reserved, and modest, to trumpet their achievement the way that filmmakers typically are happy to do. Talbot’s summation of the process that produced \u003ci>The Last Black Man in San Francisco\u003c/i> is revealing, and characteristic.\u003c/p>\n\u003cp>“I was involved in every facet of this thing, and people that know me say, ‘This movie feels a lot like you, Joe, in some ways.’ It also is true that a lot of the best moments came from conversations and other people’s brilliant ideas. And that collaborative nature we had on this film between Jimmy and I, and then our larger group of collaborators, I think is unusual. I think most movies aren’t created that way. In seeing how people are responding to it, and the detailed, meticulous nature of the movie, that’s because we have so much brainpower on it that extends beyond what you would usually have on a movie like this.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Last Black Man in San Francisco’ opens in theaters nationwide on June 7. \u003ca href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Nobody sees this city—and the determined nonconformists who make it their home—like the independent filmmakers who live here.",
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"title": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Talbot and Jimmie Fails’ ambitious, soulful and clear-eyed debut feature, \u003cem>The Last Black Man in San Francisco\u003c/em>, offers new evidence of a longstanding truth: Nobody sees this city, and the determined nonconformists who make it their home for a while or forever, like the independent filmmakers who live here.\u003c/p>\n\u003cp>Sure, \u003cem>Vertigo\u003c/em> and \u003cem>Mrs. Doubtfire\u003c/em> will always epitomize San Francisco for the masses. But low-budget indies like \u003cem>Heat and Sunlight\u003c/em> (1987), \u003cem>Steal America\u003c/em> (1992), \u003cem>Dream with the Fishes\u003c/em> (1997), \u003cem>North Beach\u003c/em> (2000), \u003cem>Haiku Tunnel\u003c/em> (2001), \u003cem>Medicine for Melancholy\u003c/em> (2008) and \u003cem>Centaur\u003c/em> (2011) captured the zeitgeist of the moment by etching outcasts and artists (not to mention blocks and neighborhoods) more familiar to residents than tourists.\u003c/p>\n\u003cp>That should be a sufficient argument for \u003cem>The Last Black Man in San Francisco\u003c/em> (opening June 7) to be essential viewing for locals. Even better, it’s strewn with ideas without being show-offy, it’s earnest yet unsentimental, and penetrating without being moralistic. As a bonus, Talbot, Fails and their cohorts deftly integrate into the subtly multilayered and multigenerational plot subjects like Jefferson Airplane and Giants fandom, Hunters Point redevelopment and Chinatown fish stands, former Mabuhay Gardens punks and ’00s indie-film wannabe hipsters, interactions on Muni and the solitude of the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13859146\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg\" alt=\"Danny Glover and Jonathan Majors in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover and Jonathan Majors in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot, which draws on Fails’ life story, centers on a young black guy (played by Fails) with no permanent residence who’s fixated on the great Fillmore house where his family lived when Jimmy was a boy and which, his father endlessly recounted, his grandfather built. At the start of the story, Jimmy is crashing with best friend Mont (a would-be playwright, played by Jonathan Majors) and Mont’s blind grandfather (Danny Glover, delivering sardonic line readings and representing San Francisco’s once-thriving black middle class).\u003c/p>\n\u003cp>“Every draft had a lot going on from the beginning,” Talbot relates in an interview last week. “Lots of characters and locations that are supposed to evoke feelings of a certain San Francisco. The friendship. Jimmy being in both Hunters Point and the house in the Fillmore, and the different relationships he has in each area. If you lose the friendship, you lose the grounding force. If you lose the elements of the city, you lose what’s so special about San Francisco and why it’s worth fighting for. If you lose the house, you lose the love story. All those things are integral to the film and to Jimmy’s character.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most obvious way to watch \u003cem>The Last Black Man in San Francisco\u003c/em> is as a parable of gentrification, and a lament for the people pushed out of their homes and ’hoods by economic pressures. That theme, along with the variety of sympathetic representations of black identity, give the movie a national relevance that allows it to travel (and succeed) far beyond its hometown.\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In cinema, you often see black men portrayed in a certain way,” Fails says. “Athlete, drug dealer, slave—if it’s a period piece. In a modern way, we just wanted to explore all the different types of black people there are—black men, especially, the different nuances and things that set them apart.”\u003c/p>\n\u003cp>A few minutes later, in another room of the Nob Hill hotel where the press day is being held, Rob Morgan (\u003cem>Mudbound\u003c/em>) reframes an overly polite question on the same subject. “How refreshing was it to see some real black men on screen, finally!” he declares with a loud laugh. Morgan plays Jimmy’s father as a suspicious, unbending and unexpectedly elegant man who’s nonetheless past his salad days. But he’s not a villain, which, in another movie, he could be. Or his character might be absent altogether.\u003c/p>\n\u003cp>“It’s been documented how networks and production companies strategically take out the black male presence of the father in movies and TV shows,” Morgan asserts, “and that reflects the society at the same time. Art reflects life; life reflects art. So for 50 years you just keep seeing movies with no black fathers, or he’s a deadbeat or behind on child support, he’s getting killed or he’s in prison. Something that’s just tired, because we see it all the time, and I think that informs society on how to respond to black men in a lot of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13859145\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg\" alt=\"Rob Morgan and Jimmie Fails in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rob Morgan and Jimmie Fails in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tichina Arnold, a fellow New Yorker who plays Jimmie’s sharp, no-nonsense Aunt Wanda, nods and adds, “I hadn’t had a lot of films cross my path to audition for that were good. But this script resonated with me because it was poetic. And I’m one of the only female characters that the main character does love; he has no love interest. His love interest is that home.”\u003c/p>\n\u003cp>In addition to the script, Arnold was impelled to do the film because of the dynamic between Talbot and Fails. The Sundance jury picked up on it in the finished film, awarding a prize for creative collaboration along with best director.\u003c/p>\n\u003cp>Talbot notes, “I found a friend in Jimmy when we met [many years ago], and a creative collaborator, and someone who stars in pretty much everything I’ve ever made as a filmmaker.”\u003c/p>\n\u003cp>When they finally got into production, Fails discovered that playing himself—or a version of himself—was the strangest feeling. “It’s weird. Sometimes you don’t feel like you’re getting in the character, per se, you’re just getting into a space that you need to be in for this scene.”\u003c/p>\n\u003cfigure id=\"attachment_13859143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg\" alt=\"Tichina Arnold in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tichina Arnold in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His first and foremost passion was music, Fails says, and he admits he was transformed by the process of making \u003cem>The Last Black Man in San Francisco\u003c/em>. “I never saw acting as storytelling before, for some reason,” he confides. “I saw it as art, but I didn’t see it as storytelling. Now I see it as deeper than that, and I love to do it and I’m sticking with that now.”\u003c/p>\n\u003cp>For his part, Talbot says, “I don’t know that every actor has that ability to both perform and be analytical. That’s an incredible thing to be able to do.”\u003c/p>\n\u003cp>By the way, there’s another key Bay Area independent feature that is explicitly referenced in \u003cem>The Last Black Man in San Francisco\u003c/em>, and that’s Terry Zwigoff’s wonderful \u003cem>Ghost World\u003c/em> (2001). (I disqualified it from my list at the top because it was filmed in Southern California.)\u003c/p>\n\u003cp>Talbot saw Zwigoff’s adaptation of Daniel Clowes’ graphic novel in high school, and grew up not far from the director on Potrero Hill. Fans of \u003cem>Ghost World\u003c/em>—and \u003cem>The Last Black Man in San Francisco\u003c/em>—will appreciate the joke that Talbot and Thora Birch shared when he was casting her: “It’s kind of as if Enid moved to San Francisco and got a job she hated in tech and never got off the bus at the end of the movie.”\u003c/p>\n\u003cfigure id=\"attachment_13859144\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg\" alt=\"Jimmie Fails and Joe Talbot in San Francisco.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and Joe Talbot in San Francisco. \u003ccite>(Photo by Adam Newport-Berra; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fails and Talbot are too reserved, and modest, to trumpet their achievement the way that filmmakers typically are happy to do. Talbot’s summation of the process that produced \u003ci>The Last Black Man in San Francisco\u003c/i> is revealing, and characteristic.\u003c/p>\n\u003cp>“I was involved in every facet of this thing, and people that know me say, ‘This movie feels a lot like you, Joe, in some ways.’ It also is true that a lot of the best moments came from conversations and other people’s brilliant ideas. And that collaborative nature we had on this film between Jimmy and I, and then our larger group of collaborators, I think is unusual. I think most movies aren’t created that way. In seeing how people are responding to it, and the detailed, meticulous nature of the movie, that’s because we have so much brainpower on it that extends beyond what you would usually have on a movie like this.”\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Last Black Man in San Francisco’ opens in theaters nationwide on June 7. \u003ca href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Avant-Garde Masters Meet at S.F. Cinematheque’s Crossroads",
"headTitle": "Now Playing! Avant-Garde Masters Meet at S.F. Cinematheque’s Crossroads | KQED",
"content": "\u003cp>With apologies to Shakespeare, “There are more things in heaven and earth, Horatio, than are dreamt of in your narrative films.” Old Will might well have anticipated the ineffable beauty and pioneering necessity of avant-garde cinema—that is, works of personal expression that draw on the entire spectrum of aesthetics and techniques. But if there’s one thing we’ve learned from visionaries like Luis Buñuel, Max Fleischer, David Lynch and Terrence Malick, and from early MTV and some TV advertising, it’s that non-mainstream image-making doesn’t always mean inaccessible.\u003c/p>\n\u003cp>The tenth edition of \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads/\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a>, Steve Polta of San Francisco Cinematheque’s sensational compilation of the best avant-garde work of the last year, raises one’s spirits in ways that only art for art’s sake can. Although many of the 56 artists represented across ten programs at SFMOMA from Friday through Sunday, June 7 to 9, are incensed at the state of the world, their creativity (not to mention their resistance) is life-affirming.\u003c/p>\n\u003cfigure id=\"attachment_13858943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg\" alt=\"Lydia Moyer, Still from 'The Forcing,' 2018.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-1020x766.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Moyer, Still from ‘The Forcing,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lydia Moyer’s thematically ambitious \u003cem>The Forcing\u003c/em>, which anchors the Friday late-night program “\u003ca href=\"https://www.sfmoma.org/event/program-2-strange-weather/\" target=\"_blank\" rel=\"noopener\">strange weather\u003c/a>,” opens with a vast flock in flight, fleeing a sinister, red-tinted tornado. Recurring shots of melting glaciers and Western wildfires, of endangered butterflies and bees, are intercut with protesters blocking a highway and police violently breaking up an Occupy Wall Street encampment. Moyer presents the use of power against people of conscience, in the midst of global warming, as a failure of leadership. Yet the film isn’t so much a polemic as a question, suggested by Diane Cluck’s haunting “Red August” on the soundtrack: Are enough people in touch with both their residual humanity and nature to save the planet?\u003c/p>\n\u003cp>Music is a key element for Brazilian filmmaker Cristiana Miranda, who will be at SFMOMA Saturday afternoon for the “\u003ca href=\"https://www.sfmoma.org/event/program-3-other-voices-other-rooms/\" target=\"_blank\" rel=\"noopener\">other voices other rooms\u003c/a>” program. She makes excellent use of a terrific drum-based score to evoke the experience and legacy of African slaves in the haunting \u003cem>Sobre Aquilo Que Nos Diz Respeito\u003c/em> (\u003cem>So Many Voices in the Silence Now\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13858944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg\" alt=\"TR2/Laura Gillmore, Still from 'cold soup, raw meat, pubic hair,' 2018.\" width=\"1200\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-1020x573.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">TR2/Laura Gillmore, Still from ‘cold soup, raw meat, pubic hair,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>T2R/Laura Gillmore’s \u003cem>cold soup, raw meat, pubic hair\u003c/em>, an on-point two-minute takedown of online juxtapositions and internet marketing that was part of a 2018 installation at the Minnesota Street Project, is included in “\u003ca href=\"https://www.sfmoma.org/event/program-4-yes-yes-yes-no-no-no/\" target=\"_blank\" rel=\"noopener\">yes yes yes no no no\u003c/a>” on Saturday afternoon. Gillmore’s witty self-exposure—splashing her naked body with strawberry soup, or is it blood?—suggests an affinity with the brave body of work of Carolee Schneeman, whose passing in March this program commemorates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Scott Stark’s mesmerizing, entertaining and informative new performance piece, \u003cem>Love and the Epiphanists\u003c/em>, is the centerpiece of Crossroads’ final program on Sunday night, “\u003ca href=\"https://www.sfmoma.org/event/program-10-ive-returned-to-see-how-strange-it-feels/\" target=\"_blank\" rel=\"noopener\">i’ve returned to see how strange it feels\u003c/a>.” Incorporating slides and live voice-over to conjure a romance in the wake of Earth’s inevitable environmental apocalypse. Stark builds his narrative from shards of 35mm trailers. Trashing Hollywood’s clichés at every turn, \u003cem>Love and the Epiphanists\u003c/em> encapsulates a few foundational principles of the Bay Area filmmaker’s long, brilliant career: A deep love of cinema, and an equally deep loathing for the entire industry that has betrayed and trivialized it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With apologies to Shakespeare, “There are more things in heaven and earth, Horatio, than are dreamt of in your narrative films.” Old Will might well have anticipated the ineffable beauty and pioneering necessity of avant-garde cinema—that is, works of personal expression that draw on the entire spectrum of aesthetics and techniques. But if there’s one thing we’ve learned from visionaries like Luis Buñuel, Max Fleischer, David Lynch and Terrence Malick, and from early MTV and some TV advertising, it’s that non-mainstream image-making doesn’t always mean inaccessible.\u003c/p>\n\u003cp>The tenth edition of \u003ca href=\"http://www.sfcinematheque.org/screenings/crossroads/\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a>, Steve Polta of San Francisco Cinematheque’s sensational compilation of the best avant-garde work of the last year, raises one’s spirits in ways that only art for art’s sake can. Although many of the 56 artists represented across ten programs at SFMOMA from Friday through Sunday, June 7 to 9, are incensed at the state of the world, their creativity (not to mention their resistance) is life-affirming.\u003c/p>\n\u003cfigure id=\"attachment_13858943\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg\" alt=\"Lydia Moyer, Still from 'The Forcing,' 2018.\" width=\"1200\" height=\"901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/epilogue-still_1200-1020x766.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lydia Moyer, Still from ‘The Forcing,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lydia Moyer’s thematically ambitious \u003cem>The Forcing\u003c/em>, which anchors the Friday late-night program “\u003ca href=\"https://www.sfmoma.org/event/program-2-strange-weather/\" target=\"_blank\" rel=\"noopener\">strange weather\u003c/a>,” opens with a vast flock in flight, fleeing a sinister, red-tinted tornado. Recurring shots of melting glaciers and Western wildfires, of endangered butterflies and bees, are intercut with protesters blocking a highway and police violently breaking up an Occupy Wall Street encampment. Moyer presents the use of power against people of conscience, in the midst of global warming, as a failure of leadership. Yet the film isn’t so much a polemic as a question, suggested by Diane Cluck’s haunting “Red August” on the soundtrack: Are enough people in touch with both their residual humanity and nature to save the planet?\u003c/p>\n\u003cp>Music is a key element for Brazilian filmmaker Cristiana Miranda, who will be at SFMOMA Saturday afternoon for the “\u003ca href=\"https://www.sfmoma.org/event/program-3-other-voices-other-rooms/\" target=\"_blank\" rel=\"noopener\">other voices other rooms\u003c/a>” program. She makes excellent use of a terrific drum-based score to evoke the experience and legacy of African slaves in the haunting \u003cem>Sobre Aquilo Que Nos Diz Respeito\u003c/em> (\u003cem>So Many Voices in the Silence Now\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13858944\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg\" alt=\"TR2/Laura Gillmore, Still from 'cold soup, raw meat, pubic hair,' 2018.\" width=\"1200\" height=\"674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/coup-soup_pressimage1_1200-1020x573.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">TR2/Laura Gillmore, Still from ‘cold soup, raw meat, pubic hair,’ 2018. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>T2R/Laura Gillmore’s \u003cem>cold soup, raw meat, pubic hair\u003c/em>, an on-point two-minute takedown of online juxtapositions and internet marketing that was part of a 2018 installation at the Minnesota Street Project, is included in “\u003ca href=\"https://www.sfmoma.org/event/program-4-yes-yes-yes-no-no-no/\" target=\"_blank\" rel=\"noopener\">yes yes yes no no no\u003c/a>” on Saturday afternoon. Gillmore’s witty self-exposure—splashing her naked body with strawberry soup, or is it blood?—suggests an affinity with the brave body of work of Carolee Schneeman, whose passing in March this program commemorates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"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": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"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",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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