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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfntf.squarespace.com/filmnight\" rel=\"noopener\" target=\"_blank\">Film Night in the Park\u003c/a>, the long-running Saturday night summer movie series that hopscotches from neighborhood to neighborhood, scales back its formerly ambitious schedule this year. Perhaps recognizing that even hardy San Franciscans don’t relish sitting outside during the typically fog-shrouded months of June and July, the programmers have narrowed their focus to four Saturday nights from Aug. 4 to Sept. 22. The limited run, which features \u003cem>Lady Bird\u003c/em>, \u003cem>Ferris Bueller’s Day Off\u003c/em> and \u003cem>Black Panther\u003c/em>, allows for an unofficial unifying theme: coming of age.\u003c/p>\n\u003cp>Growing up doesn’t necessarily refer to gaining maturity, mind you. In the movies, the journey usually involves recognizing—and embracing—one’s identity, and destiny. Such is the saga of the adult protagonists of \u003cem>The Adventures of Priscilla, Queen of the Desert\u003c/em> (Saturday, Aug. 4 at Dolores Park), Stephan Elliot’s 1994 Australian road movie about a pair of drag queens played by Hugo Weaving (who went on to ride the CGI of \u003cem>The Matrix\u003c/em>) and Guy Pearce (ditto with the noir stylings of \u003cem>L.A. Confidential\u003c/em>) and a transgender woman (the remarkable Terence Stamp, who just celebrated his 80th birthday). Embraced as flamboyantly outrageous on its release, \u003cem>Priscilla\u003c/em> is less shocking but just as entertaining and relevant today.\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/QgFDIinCeYI'\n title='//www.youtube.com/embed/QgFDIinCeYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>En route from Sydney to a cabaret date in faraway Alice Springs, the trio encounter various forms and flavors of Aussie machismo and prejudice. The heart and soul of the film, though, isn’t the reactions these lifelong outsiders engender in strangers but the ways they acknowledge their sexuality, loneliness and grief. ABBA can only carry you so far, you see. Then again, perhaps we’d all find it easier to be courageous and vulnerable if we were buttressed with Lizzy Gardiner and Tim Chappell’s Academy Award-winning costumes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Riveting Documentary Sheds Light On 'Dark Money' In Montana Politics",
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"content": "\u003cp>Which is worse, corruption you can see or corruption you can’t? In \u003cem>Dark Money\u003c/em>, a documentary about invisible corporate shenanigans in her home state of Montana, director Kimberly Reed makes the incisive case that the latter threatens to sink our democracy outright.\u003c/p>\n\u003cp>If 98 movie minutes about the subversion of campaign financing isn’t quite your idea of beating the summer heat, let me start by saying there’s not a dull or dry moment in Reed’s briskly paced film about the secret assault on the American electoral and judicial process by corporations whose agenda is nothing less than the dismantling of government itself. \u003cem>Dark Money\u003c/em> tells a hair-raisingly specific American tale of illicit power. In other words, the stuff of thrillers since Hollywood time began—except that in \u003cem>this\u003c/em> muckraking expose, the graft was real. Mercifully, so was the pushback from a citizenry long-accustomed to corporate chicanery and led by a few savvy activists working very hard for free.\u003c/p>\n\u003cp>https://youtu.be/nVqnfZ9dPOw\u003c/p>\n\u003cp>\u003cem>Dark Money\u003c/em> opens and closes with a flock of geese flying over a toxic copper quarry. As Reed’s story unfolds, we learn that the beautiful birds’ mass demise is only a tiny fraction of the wreckage caused by shady money moguls tinkering with electoral campaigns over a hundred years of Montana history. In part because its elected officials are ordinary folks who often double-up as farmers, teachers and the like, Montana is also heavy on a defiant populism that cuts across party lines. Which may be why it’s also the only state, according to Reed, to have fought back locally against the U.S. Supreme Court’s 2010 rollback of laws preventing corporations and unions using their treasury funds for electioneering. \u003c/p>\n\u003cp>Skillfully fielding an enormous cast of witnesses and participants, Reed shows how Democrats and Republicans running for political and judicial office found themselves targeted by vicious attack ads from deep-pocketed non-profits with blandly vanilla names like Citizens United or Americans For Prosperity, or strategically crowd-pleasing monikers like Mothers Against Child Predators. No one had ever heard of these shape-shifting advocacy groups, and it was difficult to track the money back to the shadowy ideologues hiding behind them. With the ranks of the working press hamstrung by financial crisis, it fell to a shockingly small band of enterprising freelancers—helped by some highly compromising documents that turned up in a colorfully unlikely location—to uncover a trail of money and influence that led back to wealthy right-wing libertarians. (The Koch brothers come up a lot.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest is a gripping tale of self-help sleuthing topped off by the televised trial of Art Wittich, a local State Senator accused of being on the take. John Adams, a newly laid-off local reporter who will surely be played by Woody Harrelson in the event of a narrative remake of \u003cem>Dark Money\u003c/em>, founded his own dirt-digging website with help from colleagues and donations from an increasingly outraged public. Attorney Gene Jarussi came out of retirement to work pro bono on tracing the money trail connecting Republican State Senator Wittich to an anti-environmental outfit murkily titled American Tradition Partnership. But perhaps the real heroine is Sarah Arnold, a young Republican former staffer for ATP who, disgusted by her employer’s dirty tricks, agreed to testify at Wittich’s trial. Here’s hoping she has stayed safe since.\u003c/p>\n\u003cp>Without the indispensable \u003cem>Dark Money,\u003c/em> few of us would have heard of this David-and-Goliath struggle. Reed keeps the story mostly local while adroitly teasing out the broader threat of a lack of transparency that’s been kicking around American politics since way before Watergate. Her riveting film shows how, with the Internet’s global reach and the ever-growing concentration of money and power, dark money is redrawing the political landscape in ways that render parties irrelevant and imperil democracy itself. As one of the film’s talking heads points out, when the Supreme Court of the United States decrees that corporations have the same rights as individuals, and financial contributions count as free speech, it is time to take the fight for democracy local, as Montana did. The trick will be to keep it up — and \u003cem>Dark Money\u003c/em> shows what a long, hard grind that will be. \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>\u003ci>‘Dark Money’ opens on Friday, July 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck Cinemas in Berkeley, Christopher B. Smith Rafael Film Center in San Rafael and 3 Below Theater and Lounge in San Jose.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Which is worse, corruption you can see or corruption you can’t? In \u003cem>Dark Money\u003c/em>, a documentary about invisible corporate shenanigans in her home state of Montana, director Kimberly Reed makes the incisive case that the latter threatens to sink our democracy outright.\u003c/p>\n\u003cp>If 98 movie minutes about the subversion of campaign financing isn’t quite your idea of beating the summer heat, let me start by saying there’s not a dull or dry moment in Reed’s briskly paced film about the secret assault on the American electoral and judicial process by corporations whose agenda is nothing less than the dismantling of government itself. \u003cem>Dark Money\u003c/em> tells a hair-raisingly specific American tale of illicit power. In other words, the stuff of thrillers since Hollywood time began—except that in \u003cem>this\u003c/em> muckraking expose, the graft was real. Mercifully, so was the pushback from a citizenry long-accustomed to corporate chicanery and led by a few savvy activists working very hard for free.\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/nVqnfZ9dPOw'\n title='//www.youtube.com/embed/nVqnfZ9dPOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Dark Money\u003c/em> opens and closes with a flock of geese flying over a toxic copper quarry. As Reed’s story unfolds, we learn that the beautiful birds’ mass demise is only a tiny fraction of the wreckage caused by shady money moguls tinkering with electoral campaigns over a hundred years of Montana history. In part because its elected officials are ordinary folks who often double-up as farmers, teachers and the like, Montana is also heavy on a defiant populism that cuts across party lines. Which may be why it’s also the only state, according to Reed, to have fought back locally against the U.S. Supreme Court’s 2010 rollback of laws preventing corporations and unions using their treasury funds for electioneering. \u003c/p>\n\u003cp>Skillfully fielding an enormous cast of witnesses and participants, Reed shows how Democrats and Republicans running for political and judicial office found themselves targeted by vicious attack ads from deep-pocketed non-profits with blandly vanilla names like Citizens United or Americans For Prosperity, or strategically crowd-pleasing monikers like Mothers Against Child Predators. No one had ever heard of these shape-shifting advocacy groups, and it was difficult to track the money back to the shadowy ideologues hiding behind them. With the ranks of the working press hamstrung by financial crisis, it fell to a shockingly small band of enterprising freelancers—helped by some highly compromising documents that turned up in a colorfully unlikely location—to uncover a trail of money and influence that led back to wealthy right-wing libertarians. (The Koch brothers come up a lot.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest is a gripping tale of self-help sleuthing topped off by the televised trial of Art Wittich, a local State Senator accused of being on the take. John Adams, a newly laid-off local reporter who will surely be played by Woody Harrelson in the event of a narrative remake of \u003cem>Dark Money\u003c/em>, founded his own dirt-digging website with help from colleagues and donations from an increasingly outraged public. Attorney Gene Jarussi came out of retirement to work pro bono on tracing the money trail connecting Republican State Senator Wittich to an anti-environmental outfit murkily titled American Tradition Partnership. But perhaps the real heroine is Sarah Arnold, a young Republican former staffer for ATP who, disgusted by her employer’s dirty tricks, agreed to testify at Wittich’s trial. Here’s hoping she has stayed safe since.\u003c/p>\n\u003cp>Without the indispensable \u003cem>Dark Money,\u003c/em> few of us would have heard of this David-and-Goliath struggle. Reed keeps the story mostly local while adroitly teasing out the broader threat of a lack of transparency that’s been kicking around American politics since way before Watergate. Her riveting film shows how, with the Internet’s global reach and the ever-growing concentration of money and power, dark money is redrawing the political landscape in ways that render parties irrelevant and imperil democracy itself. As one of the film’s talking heads points out, when the Supreme Court of the United States decrees that corporations have the same rights as individuals, and financial contributions count as free speech, it is time to take the fight for democracy local, as Montana did. The trick will be to keep it up — and \u003cem>Dark Money\u003c/em> shows what a long, hard grind that will be. \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>\u003ci>‘Dark Money’ opens on Friday, July 27 at Landmark Opera Plaza in San Francisco, Landmark Shattuck Cinemas in Berkeley, Christopher B. Smith Rafael Film Center in San Rafael and 3 Below Theater and Lounge in San Jose.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Alain Tanner and John Berger’s Films, a Revolutionary Spirit Lives On",
"headTitle": "In Alain Tanner and John Berger’s Films, a Revolutionary Spirit Lives On | KQED",
"content": "\u003cp>Much has been written about the films that seemed to anticipate the events of May 1968 (Jean-Luc Godard’s \u003cem>La Chinoise\u003c/em> is often mentioned), but rather less on those that undertook to sort out the consequences. Godard’s fellow Swiss, Alain Tanner, is an exemplary figure in this regard, having directed a score of features focusing on what critic Dave Kehr has aptly described as “the dilemma of the revolutionary in non-revolutionary times.” \u003c/p>\n\u003cp>Tanner is the subject of a \u003ca href=\"https://bampfa.org/program/subtle-subversion-films-alain-tanner\" rel=\"noopener\" target=\"_blank\">Berkeley Art Museum and Pacific Film Archive series\u003c/a> beginning July 26 and running through August 19, his first retrospective there in more than 20 years, during which time his freewheeling dramas have largely fallen out of circulation. Tanner came to filmmaking from sociology, and it shows in the analytical bent of his movies, which collide multiple points of view to unpack the cultural conditioning of character.\u003c/p>\n\u003cp>This inquisitive approach is especially evident in three early features co-authored with the art critic John Berger: \u003cem>\u003ca href=\"https://bampfa.org/event/la-salamandre-3\" rel=\"noopener\" target=\"_blank\">La salamandre\u003c/a>\u003c/em> (1971), \u003cem>\u003ca href=\"https://bampfa.org/event/middle-world-3\" rel=\"noopener\" target=\"_blank\">The Middle of the World\u003c/a>\u003c/em> (1974), and \u003cem>\u003ca href=\"https://bampfa.org/event/jonah-who-will-be-25-year-2000-4\" rel=\"noopener\" target=\"_blank\">Jonah Who Will Be 25 in the Year 2000\u003c/a>\u003c/em> (1976). Berger, whose sensitive essays on art and politics often do the work of sociology by other means, \u003ca href=\"https://www.nytimes.com/2017/01/02/arts/design/john-berger-provocative-art-critic-dies-at-90.html\" rel=\"noopener\" target=\"_blank\">died last year\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13837593\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200.jpg\" alt=\"Still from 'La salamandre,' 1971.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-13837593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-520x368.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘La salamandre,’ 1971. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two men met in the 1950s, when Tanner was studying at the British Film Institute. Berger’s radical humanism proved a lasting match for Tanner’s narrative sensibility: alternately tender and dire, open-minded and argumentative. For devotees of Berger’s essays, it’s fascinating to see some of the writer’s key ideas take dramatic shape: both \u003cem>La salamandre\u003c/em> and \u003cem>The Middle of the World\u003c/em>, for instance, can be seen as testing many of the same propositions found in Berger’s critique of the role of women in art found in his groundbreaking 1972 television series and book, \u003cem>Ways of Seeing\u003c/em>. \u003c/p>\n\u003cp>\u003cem>La salamandre\u003c/em> does indeed function as a kind of intellectual exercise in the politics of representation, but one held together by an altogether electrifying performance by Bulle Ogier. She plays Rosemonde, a disillusioned young woman accused of wounding her uncle with his own military rifle. Two writers, Pierre (Jean-Luc Bideau, a recurring presence in Tanner’s films reminiscent of Elliot Gould) and Paul (Jacques Denis), take a cash advance to pen a television script based on her story, with Pierre pursuing a decidedly hands-on documentary approach and Paul opting for an imaginative treatment. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Openly disdainful of any such frame, Rosemonde is several years ahead of schedule for punk. Not for nothing is she fired from a later job at a shoe store for “taking liberties” with customers. \u003cem>La salamandre\u003c/em> is the rare movie that leads its audience to understand that the so-called happy ending may well be at the cost of freedom. \u003c/p>\n\u003cfigure id=\"attachment_13837590\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200.jpg\" alt=\"Still from 'The Middle of the World,' 1974.\" width=\"1200\" height=\"878\" class=\"size-full wp-image-13837590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-520x380.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Middle of the World,’ 1974. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Middle of the World\u003c/em> is even more unsparing in its narrative logic. It’s the story of a love affair between Paul, an engineer campaigning for political office, and Adriana, an Italian working in a provincial café. Their bond is playful and humane—Paul turns somersaults in the snow at the thought of it—and yet cannot survive the dead weight of social convention. They meet in a Swiss town that’s picturesque but small-minded, especially whenever it comes to a group of men gathering around a table. \u003c/p>\n\u003cp>The lovers seem to speak their own private language, and the genuinely liberating quality of their erotic connection makes it all the more depressing when Paul begins pressuring Adriana to quit her job (Berger and Tanner’s screenplay wittily links this romantic trajectory to economic normalization). In most movies her character’s resistance would be the opening salvo of a seduction—as with the femme fatale, that locus of the male gaze—but here it’s given the last word. Both Adriana and Rosemonde would simply prefer not to, thus upending the traditional role of the actress, no matter the part.\u003c/p>\n\u003cfigure id=\"attachment_13837589\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200.jpg\" alt=\"Still from 'Jonah Who Will Be 25 in the Year 2000,' 1976.\" width=\"1200\" height=\"941\" class=\"size-full wp-image-13837589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-1180x925.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-960x753.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-520x408.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Jonah Who Will Be 25 in the Year 2000,’ 1976. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where \u003ci>The Middle of the World\u003c/i> ends up with nowhere to go, \u003cem>Jonah Who Will Be 25 in the Year 2000\u003c/em> seems an open map. Primarily composed of long dialogues, the film involves a loose-knit social circle: four men and four women, all carrying forward the ideals of the 1960s to varying degrees. The lineup includes a pair of organic farmers, a journalist who still agitates in spite of his world-weary cynicism, a history teacher incorporating social critique into his curriculum, a supermarket clerk who doesn’t charge pensioners for groceries, and a subversive office worker who practices tantric meditation in her spare time. \u003c/p>\n\u003cp>Many of their scenes together are droll and sometimes satiric, but Tanner and Berger’s overarching analysis of the everyday integration of radical politics withholds judgment and accordingly does not suggest that there is any one right way of living one’s ideals. The film offers perhaps the clearest expression of the tough-minded hope humming throughout Tanner and Berger’s films together—a hope precisely understood as being in spite of everything. \u003c/p>\n\u003cp>Jonah, the newborn of the former characters, would be well past 25 now, and history, deemed to be at its end during his adolescence, shows no sign of letting up. He might well find solace in these earlier movies, for reasons well elaborated by Berger in his 1990 essay “Ev’ry Time We Say Goodbye”: “What is saved in the cinema when it achieves art is a spontaneous continuity with all of mankind. It is not an art of the princes or of the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their lives.”\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>\u003ci>‘Subtle Subversion: The Films of Alain Tanner’ plays at the Berkeley Art Museum and Pacific Film Archive July 26–August 19, 2018. \u003ca href=\"https://bampfa.org/program/subtle-subversion-films-alain-tanner\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much has been written about the films that seemed to anticipate the events of May 1968 (Jean-Luc Godard’s \u003cem>La Chinoise\u003c/em> is often mentioned), but rather less on those that undertook to sort out the consequences. Godard’s fellow Swiss, Alain Tanner, is an exemplary figure in this regard, having directed a score of features focusing on what critic Dave Kehr has aptly described as “the dilemma of the revolutionary in non-revolutionary times.” \u003c/p>\n\u003cp>Tanner is the subject of a \u003ca href=\"https://bampfa.org/program/subtle-subversion-films-alain-tanner\" rel=\"noopener\" target=\"_blank\">Berkeley Art Museum and Pacific Film Archive series\u003c/a> beginning July 26 and running through August 19, his first retrospective there in more than 20 years, during which time his freewheeling dramas have largely fallen out of circulation. Tanner came to filmmaking from sociology, and it shows in the analytical bent of his movies, which collide multiple points of view to unpack the cultural conditioning of character.\u003c/p>\n\u003cp>This inquisitive approach is especially evident in three early features co-authored with the art critic John Berger: \u003cem>\u003ca href=\"https://bampfa.org/event/la-salamandre-3\" rel=\"noopener\" target=\"_blank\">La salamandre\u003c/a>\u003c/em> (1971), \u003cem>\u003ca href=\"https://bampfa.org/event/middle-world-3\" rel=\"noopener\" target=\"_blank\">The Middle of the World\u003c/a>\u003c/em> (1974), and \u003cem>\u003ca href=\"https://bampfa.org/event/jonah-who-will-be-25-year-2000-4\" rel=\"noopener\" target=\"_blank\">Jonah Who Will Be 25 in the Year 2000\u003c/a>\u003c/em> (1976). Berger, whose sensitive essays on art and politics often do the work of sociology by other means, \u003ca href=\"https://www.nytimes.com/2017/01/02/arts/design/john-berger-provocative-art-critic-dies-at-90.html\" rel=\"noopener\" target=\"_blank\">died last year\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13837593\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200.jpg\" alt=\"Still from 'La salamandre,' 1971.\" width=\"1200\" height=\"849\" class=\"size-full wp-image-13837593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_La-Salamandre_001_1200-520x368.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘La salamandre,’ 1971. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The two men met in the 1950s, when Tanner was studying at the British Film Institute. Berger’s radical humanism proved a lasting match for Tanner’s narrative sensibility: alternately tender and dire, open-minded and argumentative. For devotees of Berger’s essays, it’s fascinating to see some of the writer’s key ideas take dramatic shape: both \u003cem>La salamandre\u003c/em> and \u003cem>The Middle of the World\u003c/em>, for instance, can be seen as testing many of the same propositions found in Berger’s critique of the role of women in art found in his groundbreaking 1972 television series and book, \u003cem>Ways of Seeing\u003c/em>. \u003c/p>\n\u003cp>\u003cem>La salamandre\u003c/em> does indeed function as a kind of intellectual exercise in the politics of representation, but one held together by an altogether electrifying performance by Bulle Ogier. She plays Rosemonde, a disillusioned young woman accused of wounding her uncle with his own military rifle. Two writers, Pierre (Jean-Luc Bideau, a recurring presence in Tanner’s films reminiscent of Elliot Gould) and Paul (Jacques Denis), take a cash advance to pen a television script based on her story, with Pierre pursuing a decidedly hands-on documentary approach and Paul opting for an imaginative treatment. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Openly disdainful of any such frame, Rosemonde is several years ahead of schedule for punk. Not for nothing is she fired from a later job at a shoe store for “taking liberties” with customers. \u003cem>La salamandre\u003c/em> is the rare movie that leads its audience to understand that the so-called happy ending may well be at the cost of freedom. \u003c/p>\n\u003cfigure id=\"attachment_13837590\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200.jpg\" alt=\"Still from 'The Middle of the World,' 1974.\" width=\"1200\" height=\"878\" class=\"size-full wp-image-13837590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Middle-of-the-World_002_1200-520x380.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Middle of the World,’ 1974. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Middle of the World\u003c/em> is even more unsparing in its narrative logic. It’s the story of a love affair between Paul, an engineer campaigning for political office, and Adriana, an Italian working in a provincial café. Their bond is playful and humane—Paul turns somersaults in the snow at the thought of it—and yet cannot survive the dead weight of social convention. They meet in a Swiss town that’s picturesque but small-minded, especially whenever it comes to a group of men gathering around a table. \u003c/p>\n\u003cp>The lovers seem to speak their own private language, and the genuinely liberating quality of their erotic connection makes it all the more depressing when Paul begins pressuring Adriana to quit her job (Berger and Tanner’s screenplay wittily links this romantic trajectory to economic normalization). In most movies her character’s resistance would be the opening salvo of a seduction—as with the femme fatale, that locus of the male gaze—but here it’s given the last word. Both Adriana and Rosemonde would simply prefer not to, thus upending the traditional role of the actress, no matter the part.\u003c/p>\n\u003cfigure id=\"attachment_13837589\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200.jpg\" alt=\"Still from 'Jonah Who Will Be 25 in the Year 2000,' 1976.\" width=\"1200\" height=\"941\" class=\"size-full wp-image-13837589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-800x627.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-1180x925.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-960x753.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-375x294.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Tanner_Jonas-Who-Will-Be-25-in-the-Year-2000_002_1200-520x408.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Jonah Who Will Be 25 in the Year 2000,’ 1976. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where \u003ci>The Middle of the World\u003c/i> ends up with nowhere to go, \u003cem>Jonah Who Will Be 25 in the Year 2000\u003c/em> seems an open map. Primarily composed of long dialogues, the film involves a loose-knit social circle: four men and four women, all carrying forward the ideals of the 1960s to varying degrees. The lineup includes a pair of organic farmers, a journalist who still agitates in spite of his world-weary cynicism, a history teacher incorporating social critique into his curriculum, a supermarket clerk who doesn’t charge pensioners for groceries, and a subversive office worker who practices tantric meditation in her spare time. \u003c/p>\n\u003cp>Many of their scenes together are droll and sometimes satiric, but Tanner and Berger’s overarching analysis of the everyday integration of radical politics withholds judgment and accordingly does not suggest that there is any one right way of living one’s ideals. The film offers perhaps the clearest expression of the tough-minded hope humming throughout Tanner and Berger’s films together—a hope precisely understood as being in spite of everything. \u003c/p>\n\u003cp>Jonah, the newborn of the former characters, would be well past 25 now, and history, deemed to be at its end during his adolescence, shows no sign of letting up. He might well find solace in these earlier movies, for reasons well elaborated by Berger in his 1990 essay “Ev’ry Time We Say Goodbye”: “What is saved in the cinema when it achieves art is a spontaneous continuity with all of mankind. It is not an art of the princes or of the bourgeoisie. It is popular and vagrant. In the sky of the cinema people learn what they might have been and discover what belongs to them apart from their lives.”\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>\u003ci>‘Subtle Subversion: The Films of Alain Tanner’ plays at the Berkeley Art Museum and Pacific Film Archive July 26–August 19, 2018. \u003ca href=\"https://bampfa.org/program/subtle-subversion-films-alain-tanner\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Damaged. Vengeful. Perverse. Those are a few of the characteristics of the classic femme fatale, which French actress \u003ca href=\"https://www.roxie.com/ai1ec_event/midsummer-nightmare/?instance_id=28408\" target=\"_blank\" rel=\"noopener\">Andrée Clément\u003c/a> exuded even when she was playing a chambermaid with a mousy exterior. Resurrected by local programmer Don Malcolm for a Roxie double bill culled from the dozen-odd movies she made between 1943 and her premature death in 1954, Clément possessed an unpredictability and instinctiveness that gave her a wild-card quality. Especially in the crime-slash-relationship dramas on view July 26, she seems perpetually on the verge of breaking some convention of (im)polite society.\u003c/p>\n\u003cp>In \u003cem>La Fille du Diable\u003c/em> (\u003cem>Devil’s Daughter\u003c/em>), Clément plays a despised juvenile delinquent in a small village that thrives on the maintenance of appearances. Her dismal outsider existence is enlivened by the arrival of an impostor: an infamous criminal (Pierre Fresnay) passing himself off as the ne’er-do-well who left home 20-odd years ago, struck it rich in America and has returned to the fold. The 1946 film is rife with smart characters and satisfying dialogue, and is wise to the French propensity for cover stories and silence following the Occupation and the liberation.\u003c/p>\n\u003cfigure id=\"attachment_13837528\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg\" alt=\"Still from 'Macadam,' 1946.\" width=\"1200\" height=\"868\" class=\"size-full wp-image-13837528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Macadam,’ 1946. \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released the same year, \u003cem>Macadam\u003c/em> (\u003cem>Back Streets of Paris\u003c/em>) unfolds in a down-on-its-heels hotel on the outskirts of Paris operated by a certain Madame Rose (Francoise Rosay). Her daughter, Simone (played by Clément), is a bit like Cinderella: She’s compelled to do the lowliest chores from dawn to dark. And, like that fairy-tale lass, one day she meets a prince. Well, a street hustler, but there’s no difference ‘tween the two to Simone.\u003c/p>\n\u003cp>\u003cem>Macadam\u003c/em> takes unseemly pleasure in its litany of con-job seductions, double-crosses and betrayals, which every noir enthusiast will delight in (and see coming from a kilometer away). The movie teases us with romantic ideas of happily-ever-after and justice shall prevail, but we know, from the first sight of Andrée Clément’s face, that nothing good will ever happen to this girl. Nonetheless, Simone comes to an appreciably better end than Andrée herself, who succumbed to tuberculosis at 35. The great thing about the movies, of course, is everyone lives forever.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Damaged. Vengeful. Perverse. Those are a few of the characteristics of the classic femme fatale, which French actress \u003ca href=\"https://www.roxie.com/ai1ec_event/midsummer-nightmare/?instance_id=28408\" target=\"_blank\" rel=\"noopener\">Andrée Clément\u003c/a> exuded even when she was playing a chambermaid with a mousy exterior. Resurrected by local programmer Don Malcolm for a Roxie double bill culled from the dozen-odd movies she made between 1943 and her premature death in 1954, Clément possessed an unpredictability and instinctiveness that gave her a wild-card quality. Especially in the crime-slash-relationship dramas on view July 26, she seems perpetually on the verge of breaking some convention of (im)polite society.\u003c/p>\n\u003cp>In \u003cem>La Fille du Diable\u003c/em> (\u003cem>Devil’s Daughter\u003c/em>), Clément plays a despised juvenile delinquent in a small village that thrives on the maintenance of appearances. Her dismal outsider existence is enlivened by the arrival of an impostor: an infamous criminal (Pierre Fresnay) passing himself off as the ne’er-do-well who left home 20-odd years ago, struck it rich in America and has returned to the fold. The 1946 film is rife with smart characters and satisfying dialogue, and is wise to the French propensity for cover stories and silence following the Occupation and the liberation.\u003c/p>\n\u003cfigure id=\"attachment_13837528\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg\" alt=\"Still from 'Macadam,' 1946.\" width=\"1200\" height=\"868\" class=\"size-full wp-image-13837528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Clement-Macadam_1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Macadam,’ 1946. \u003ccite>(Courtesy of Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Released the same year, \u003cem>Macadam\u003c/em> (\u003cem>Back Streets of Paris\u003c/em>) unfolds in a down-on-its-heels hotel on the outskirts of Paris operated by a certain Madame Rose (Francoise Rosay). Her daughter, Simone (played by Clément), is a bit like Cinderella: She’s compelled to do the lowliest chores from dawn to dark. And, like that fairy-tale lass, one day she meets a prince. Well, a street hustler, but there’s no difference ‘tween the two to Simone.\u003c/p>\n\u003cp>\u003cem>Macadam\u003c/em> takes unseemly pleasure in its litany of con-job seductions, double-crosses and betrayals, which every noir enthusiast will delight in (and see coming from a kilometer away). The movie teases us with romantic ideas of happily-ever-after and justice shall prevail, but we know, from the first sight of Andrée Clément’s face, that nothing good will ever happen to this girl. Nonetheless, Simone comes to an appreciably better end than Andrée herself, who succumbed to tuberculosis at 35. The great thing about the movies, of course, is everyone lives forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "In ‘Don’t Worry,’ Joaquin Phoenix is the Stormy Center of a Conventional Narrative | KQED",
"content": "\u003cp>In the middle of a desert plain, a sheriff and his deputy stand stock still on horseback. An empty wheelchair sits immobile in front of them. Wearing a cowboy hat, the sheriff turns to his sidekick and says, “Don’t worry, he won’t get far on foot.”\u003c/p>\n\u003cp>That’s the caption on \u003ca href=\"https://dx35vtwkllhj9.cloudfront.net/amazonstudios/dont-worry-he-wont-get-far-on-foot/images/regions/us/illustration.jpg\" target=\"_blank\" rel=\"noopener\">a black-and-white cartoon\u003c/a> drawn by the late \u003ca href=\"https://en.wikipedia.org/wiki/John_Callahan_(cartoonist)\" target=\"_blank\" rel=\"noopener\">John Callahan\u003c/a> (1951-2010) and the name of a new Gus Van Sant film about the cartoonist. The panel offers a typical example of Callahan’s wry sense of humor, but unlike the cartoon, the tone of this biopic is earnest—not sardonic.\u003c/p>\n\u003cp>\u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> fits into the “Poignant Melodrama” section of Van Sant’s oeuvre, along with films like \u003ci>Good Will Hunting\u003c/i>, \u003ci>Milk\u003c/i> and \u003ci>Finding Forrester\u003c/i>. The more experimental filmmaker behind \u003ci>Elephant\u003c/i>, \u003ci>Gerry\u003c/i> and \u003ci>My Own Private Idaho\u003c/i> here relies on Joaquin Phoenix’s performance to provide moments of emotional unpredictability. Animated versions of Callahan’s trenchant cartoons break the story up from time to time, but they don’t appear often enough to truly resonate. Instead, the three-time Academy Award nominee plays the stormy figure at the center of a conventional narrative.\u003c/p>\n\u003cfigure id=\"attachment_13837283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix stars as John Callahan in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phoenix portrays Callahan at various stages in his life—as a paraplegic, as a recovering alcoholic and as a cartoonist for the \u003ci>Willamette Week\u003c/i> in Portland, Oregon. Van Sant, who is also credited with writing the screenplay, doesn’t adhere to a chronological telling of that narrative arc. By layering and overlapping different versions of the same man, the director appears to be extracting, or at least simulating, Callahan’s actual memories. A warm orange or sepia-toned filter signals scenes set in the past, specifically the 1970s, when Callahan gets into the car accident that leaves him paralyzed for the rest of his life.\u003c/p>\n\u003cp>The familiar elements of tragic accident and subsequent recovery in \u003ci>Don’t Worry\u003c/i>’s plot recall films like John Sayle’s 1992 \u003ci>Passion Fish\u003c/i> (with Mary McDonnell) and last year’s \u003ci>Stronger\u003c/i>, which starred Jake Gyllenhaal. Both of those films feature characters who become disabled—McDonnell’s fictional soap opera actress also suffers a car accident and Gyllenhaal plays the real-life Jeff Bauman, who was critically injured at the Boston Marathon bombing. We watch the actors as they adjust to, and also psychologically resist, the way their bodies have been changed. In this respect, Van Sant’s film is no different, except that Callahan’s physical recovery runs parallel to his recovery from alcoholism. And so half of \u003ci>Don’t Worry\u003c/i> is devoted to a therapy group that Callahan finds at an Alcoholics Anonymous meeting.\u003c/p>\n\u003cfigure id=\"attachment_13837284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Black as Dexter and Joaquin Phoenix as John Callahan star in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group meets weekly at the posh house his A.A. sponsor Donnie (Jonah Hill) inherited from his family. Van Sant’s camera circles the room, filming confessions from a cast filled with unexpected cameos. Phoenix, who could never play an everyman, fits right in with Donnie’s gang of eccentrics. The singer/songwriters Beth Ditto and Kim Gordon recount their stories alongside the mad-eyed German actor Udo Kier and a mostly silent Tony Greenhand a.k.a. The World’s Greatest Joint Roller. But Callahan especially bonds with Donnie, who shares his sense of humor, and who counsels him when his newly sober emotions swing out of control.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the course of the film, Callahan has an affair with Annu (Rooney Mara), a Scandinavian social worker/therapist he meets in the hospital after his accident. The two actors were also paired Spike Jonze’s \u003ci>Her\u003c/i> (2013), where Mara had a lot more to do and say than look ethereal. In \u003ci>Don’t Worry\u003c/i>, her hospital job, her specific origins and what becomes of their relationship never gets spelled out. Van Sant writes very few lines for Annu and that plays into Mara’s talent for projecting an inviolable mystique. Per usual, her spiritual radiance remains intact but the character she plays drifts out of Callahan’s life as if she’d never been real. She leaves us with the suggestion that, perhaps, he’d only imagined her into being.\u003c/p>\n\u003cfigure id=\"attachment_13837285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg\" alt=\"Rooney Mara stars as Annu in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rooney Mara stars as Annu in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director doesn’t delve very far into Callahan’s artistic imagination either. \u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> is instead Callahan’s tale of redemption through a 12-step program. To paraphrase James Joyce, it’s a portrait of the artist as a young alcoholic. Once sober, we see Phoenix pick up a black felt tip pen and start drawing comic characters—but Van Sant doesn’t amplify the moment. Unlike R. Crumb’s underground comics in Terry Zwigoff’s \u003ci>Crumb\u003c/i> (1994), Callahan’s comics don’t drive the narrative. His recovery does. What Van Sant and Phoenix emphasize about Callahan’s life—and what makes it heroic enough to sustain a two hour film—was his ability to look back with laughter at his alcoholism and his sudden paralysis rather than living out the rest of his days in silent despair.\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>\n\u003cp>\u003ci>‘Don’t Worry, He Won’t Get Far on Foot’ opens Thursday, July 19 at the AMC Kabuki.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Gus Van Sant's biopic about a darkly sardonic Portland cartoonist, a paraplegic who battled alcoholism, is far more earnest than its subject. ",
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"description": "Gus Van Sant's biopic about a darkly sardonic Portland cartoonist, a paraplegic who battled alcoholism, is far more earnest than its subject. ",
"title": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative | KQED",
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"headline": "In 'Don't Worry,' Joaquin Phoenix is the Stormy Center of a Conventional Narrative",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of a desert plain, a sheriff and his deputy stand stock still on horseback. An empty wheelchair sits immobile in front of them. Wearing a cowboy hat, the sheriff turns to his sidekick and says, “Don’t worry, he won’t get far on foot.”\u003c/p>\n\u003cp>That’s the caption on \u003ca href=\"https://dx35vtwkllhj9.cloudfront.net/amazonstudios/dont-worry-he-wont-get-far-on-foot/images/regions/us/illustration.jpg\" target=\"_blank\" rel=\"noopener\">a black-and-white cartoon\u003c/a> drawn by the late \u003ca href=\"https://en.wikipedia.org/wiki/John_Callahan_(cartoonist)\" target=\"_blank\" rel=\"noopener\">John Callahan\u003c/a> (1951-2010) and the name of a new Gus Van Sant film about the cartoonist. The panel offers a typical example of Callahan’s wry sense of humor, but unlike the cartoon, the tone of this biopic is earnest—not sardonic.\u003c/p>\n\u003cp>\u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> fits into the “Poignant Melodrama” section of Van Sant’s oeuvre, along with films like \u003ci>Good Will Hunting\u003c/i>, \u003ci>Milk\u003c/i> and \u003ci>Finding Forrester\u003c/i>. The more experimental filmmaker behind \u003ci>Elephant\u003c/i>, \u003ci>Gerry\u003c/i> and \u003ci>My Own Private Idaho\u003c/i> here relies on Joaquin Phoenix’s performance to provide moments of emotional unpredictability. Animated versions of Callahan’s trenchant cartoons break the story up from time to time, but they don’t appear often enough to truly resonate. Instead, the three-time Academy Award nominee plays the stormy figure at the center of a conventional narrative.\u003c/p>\n\u003cfigure id=\"attachment_13837283\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-001_DONT_Unit_00005R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Joaquin Phoenix stars as John Callahan in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phoenix portrays Callahan at various stages in his life—as a paraplegic, as a recovering alcoholic and as a cartoonist for the \u003ci>Willamette Week\u003c/i> in Portland, Oregon. Van Sant, who is also credited with writing the screenplay, doesn’t adhere to a chronological telling of that narrative arc. By layering and overlapping different versions of the same man, the director appears to be extracting, or at least simulating, Callahan’s actual memories. A warm orange or sepia-toned filter signals scenes set in the past, specifically the 1970s, when Callahan gets into the car accident that leaves him paralyzed for the rest of his life.\u003c/p>\n\u003cp>The familiar elements of tragic accident and subsequent recovery in \u003ci>Don’t Worry\u003c/i>’s plot recall films like John Sayle’s 1992 \u003ci>Passion Fish\u003c/i> (with Mary McDonnell) and last year’s \u003ci>Stronger\u003c/i>, which starred Jake Gyllenhaal. Both of those films feature characters who become disabled—McDonnell’s fictional soap opera actress also suffers a car accident and Gyllenhaal plays the real-life Jeff Bauman, who was critically injured at the Boston Marathon bombing. We watch the actors as they adjust to, and also psychologically resist, the way their bodies have been changed. In this respect, Van Sant’s film is no different, except that Callahan’s physical recovery runs parallel to his recovery from alcoholism. And so half of \u003ci>Don’t Worry\u003c/i> is devoted to a therapy group that Callahan finds at an Alcoholics Anonymous meeting.\u003c/p>\n\u003cfigure id=\"attachment_13837284\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg\" alt=\"Joaquin Phoenix stars as John Callahan in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-139_DONT_Unit_00408R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jack Black as Dexter and Joaquin Phoenix as John Callahan star in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group meets weekly at the posh house his A.A. sponsor Donnie (Jonah Hill) inherited from his family. Van Sant’s camera circles the room, filming confessions from a cast filled with unexpected cameos. Phoenix, who could never play an everyman, fits right in with Donnie’s gang of eccentrics. The singer/songwriters Beth Ditto and Kim Gordon recount their stories alongside the mad-eyed German actor Udo Kier and a mostly silent Tony Greenhand a.k.a. The World’s Greatest Joint Roller. But Callahan especially bonds with Donnie, who shares his sense of humor, and who counsels him when his newly sober emotions swing out of control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the course of the film, Callahan has an affair with Annu (Rooney Mara), a Scandinavian social worker/therapist he meets in the hospital after his accident. The two actors were also paired Spike Jonze’s \u003ci>Her\u003c/i> (2013), where Mara had a lot more to do and say than look ethereal. In \u003ci>Don’t Worry\u003c/i>, her hospital job, her specific origins and what becomes of their relationship never gets spelled out. Van Sant writes very few lines for Annu and that plays into Mara’s talent for projecting an inviolable mystique. Per usual, her spiritual radiance remains intact but the character she plays drifts out of Callahan’s life as if she’d never been real. She leaves us with the suggestion that, perhaps, he’d only imagined her into being.\u003c/p>\n\u003cfigure id=\"attachment_13837285\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837285\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg\" alt=\"Rooney Mara stars as Annu in 'Don't Worry, He Won't Get Far on Foot.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/don-t-worry-he-won-t-get-far-on-foot-130_DONT_Unit_01233R_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rooney Mara stars as Annu in ‘Don’t Worry, He Won’t Get Far on Foot.’ \u003ccite>(Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director doesn’t delve very far into Callahan’s artistic imagination either. \u003ci>Don’t Worry, He Won’t Get Far on Foot\u003c/i> is instead Callahan’s tale of redemption through a 12-step program. To paraphrase James Joyce, it’s a portrait of the artist as a young alcoholic. Once sober, we see Phoenix pick up a black felt tip pen and start drawing comic characters—but Van Sant doesn’t amplify the moment. Unlike R. Crumb’s underground comics in Terry Zwigoff’s \u003ci>Crumb\u003c/i> (1994), Callahan’s comics don’t drive the narrative. His recovery does. What Van Sant and Phoenix emphasize about Callahan’s life—and what makes it heroic enough to sustain a two hour film—was his ability to look back with laughter at his alcoholism and his sudden paralysis rather than living out the rest of his days in silent despair.\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>\n\u003cp>\u003ci>‘Don’t Worry, He Won’t Get Far on Foot’ opens Thursday, July 19 at the AMC Kabuki.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Blindspotting' is a Spot-On Portrait of an Oakland in Flux",
"headTitle": "‘Blindspotting’ is a Spot-On Portrait of an Oakland in Flux | KQED",
"content": "\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\u003c/p>\n\u003cp>https://youtu.be/-9-HBqVbtTo\u003c/p>\n\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in theaters July 20.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\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/-9-HBqVbtTo'\n title='//www.youtube.com/embed/-9-HBqVbtTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in theaters July 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! S.F. Jewish Film Festival Drills Down to the Roots",
"headTitle": "Now Playing! S.F. Jewish Film Festival Drills Down to the Roots | KQED",
"content": "\u003cp>\u003cem>Wajib\u003c/em>, Palestinian writer-director Annemarie Jacir’s insightfully low-key portrait of life under occupation, accompanies a respected teacher (the ever-reliable Mohammad Bakri) and his expatriate son visiting from Europe as they deliver wedding invitations all over Nazareth on behalf of their daughter and sister. Their task is both custom and duty (the literal translation of \u003cem>wajib\u003c/em>), but above all it’s a means of revealing Abu Shadi and his son’s differing views of their hometown. The older man revels in the familiar routines and relationships, while his son sees the lives of Palestinians in Nazareth as inert, compromised and stultifying.\u003c/p>\n\u003cp>Home is a complicated subject, and the annual \u003ca href=\"https://jfi.org/sfjff-2018\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a> (July 19–Aug. 5 at numerous venues around the Bay Area) examines its myriad associations with ancestors, tradition, foundation and security.\u003c/p>\n\u003cfigure id=\"attachment_13837196\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200.jpg\" alt=\"Actors Mohammad Bakri and Saleh Bakri in a still from 'Wajib.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Actors Mohammad Bakri and Saleh Bakri in a still from ‘Wajib.’ \u003ccite>(Courtesy JFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the irresistibly melodramatic travelogue \u003cem>Promise at Dawn\u003c/em>, determined single mother Nina Kacew (a wildly expressive Charlotte Gainsbourg) treks from Vilna to Warsaw to Nice in search of a better launching pad for her prodigal son. (The driven lad grows up to be author Romain Gary.) France is also the setting, in the beautifully photographed \u003cem>Memoir of War\u003c/em>, for another writer’s painful coming of age: Marguerite Duras (Melanie Thierry) encounters the limits of conscience and depths of betrayal during the Nazi occupation.\u003c/p>\n\u003cp>The imprint of birthplace, and events that happened there decades ago, are integral to sagas about the dwindling population of Holocaust survivors. The octogenarian protagonist (Miguel Angel Solá) of \u003cem>The Last Suit\u003c/em> sets out on a quest from his Buenos Aires home across a deeply foreign European continent, where he is compelled to rely on the poignant kindness of strangers. The elderly title character (played by Czech New Wave director Jiří Menzel) of \u003cem>The Interpreter\u003c/em> also embarks on a journey, from Austria through Slovakia, but his mission isn’t catharsis but catalyst: His companion (Peter Simonschek of \u003cem>Toni Erdmann\u003c/em>) is the comfortably in-denial offspring of a war criminal.\u003c/p>\n\u003cfigure id=\"attachment_13837197\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200.jpg\" alt=\"Mélanie Thierry as Marguerite Duras in 'Memoir of War.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mélanie Thierry as Marguerite Duras in ‘Memoir of War.’ \u003ccite>(Courtesy Music Box Films/JFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of fascism, have you noticed that it’s trending again? Ruth Beckermann’s essential documentary, \u003cem>The Waldheim Waltz\u003c/em>, about a Nazi collaborator who subsequently held the title of U.N. Secretary General and was elected President of Austria, isn’t a history lesson so much as a blaring alarm. \u003cem>Murer: Anatomy of a Trial\u003c/em>, Christian Frosch’s expertly crafted reenactment of the 1963 trial of Austrian SS officer and gentleman farmer Franz Murer, is even more infuriating. Both villains, it could be said, benefited from a home-field advantage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Wajib\u003c/em>, Palestinian writer-director Annemarie Jacir’s insightfully low-key portrait of life under occupation, accompanies a respected teacher (the ever-reliable Mohammad Bakri) and his expatriate son visiting from Europe as they deliver wedding invitations all over Nazareth on behalf of their daughter and sister. Their task is both custom and duty (the literal translation of \u003cem>wajib\u003c/em>), but above all it’s a means of revealing Abu Shadi and his son’s differing views of their hometown. The older man revels in the familiar routines and relationships, while his son sees the lives of Palestinians in Nazareth as inert, compromised and stultifying.\u003c/p>\n\u003cp>Home is a complicated subject, and the annual \u003ca href=\"https://jfi.org/sfjff-2018\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a> (July 19–Aug. 5 at numerous venues around the Bay Area) examines its myriad associations with ancestors, tradition, foundation and security.\u003c/p>\n\u003cfigure id=\"attachment_13837196\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200.jpg\" alt=\"Actors Mohammad Bakri and Saleh Bakri in a still from 'Wajib.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Wajib_Still_01_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Actors Mohammad Bakri and Saleh Bakri in a still from ‘Wajib.’ \u003ccite>(Courtesy JFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the irresistibly melodramatic travelogue \u003cem>Promise at Dawn\u003c/em>, determined single mother Nina Kacew (a wildly expressive Charlotte Gainsbourg) treks from Vilna to Warsaw to Nice in search of a better launching pad for her prodigal son. (The driven lad grows up to be author Romain Gary.) France is also the setting, in the beautifully photographed \u003cem>Memoir of War\u003c/em>, for another writer’s painful coming of age: Marguerite Duras (Melanie Thierry) encounters the limits of conscience and depths of betrayal during the Nazi occupation.\u003c/p>\n\u003cp>The imprint of birthplace, and events that happened there decades ago, are integral to sagas about the dwindling population of Holocaust survivors. The octogenarian protagonist (Miguel Angel Solá) of \u003cem>The Last Suit\u003c/em> sets out on a quest from his Buenos Aires home across a deeply foreign European continent, where he is compelled to rely on the poignant kindness of strangers. The elderly title character (played by Czech New Wave director Jiří Menzel) of \u003cem>The Interpreter\u003c/em> also embarks on a journey, from Austria through Slovakia, but his mission isn’t catharsis but catalyst: His companion (Peter Simonschek of \u003cem>Toni Erdmann\u003c/em>) is the comfortably in-denial offspring of a war criminal.\u003c/p>\n\u003cfigure id=\"attachment_13837197\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200.jpg\" alt=\"Mélanie Thierry as Marguerite Duras in 'Memoir of War.'\" width=\"1200\" height=\"649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Memoir-of-War_Still-01_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Mélanie Thierry as Marguerite Duras in ‘Memoir of War.’ \u003ccite>(Courtesy Music Box Films/JFI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of fascism, have you noticed that it’s trending again? Ruth Beckermann’s essential documentary, \u003cem>The Waldheim Waltz\u003c/em>, about a Nazi collaborator who subsequently held the title of U.N. Secretary General and was elected President of Austria, isn’t a history lesson so much as a blaring alarm. \u003cem>Murer: Anatomy of a Trial\u003c/em>, Christian Frosch’s expertly crafted reenactment of the 1963 trial of Austrian SS officer and gentleman farmer Franz Murer, is even more infuriating. Both villains, it could be said, benefited from a home-field advantage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Three Identical Strangers': Nuanced Doc Tells A Gripping Tale — In Triplicate",
"headTitle": "‘Three Identical Strangers’: Nuanced Doc Tells A Gripping Tale — In Triplicate | KQED",
"content": "\u003cp>Now in his grizzled late fifties, Bobby Shafran is an affable, ordinary fellow whose life ran away from him back in 1980, when the nineteen-year-old freshman drove his beat-up Volvo to enter community college in upstate New York. He was puzzled at being effusively greeted by fellow students who called him Eddy. It quickly transpired that he was a dead ringer for another student at the college named Eddy Galland, who turned out to be the twin Bobby never knew he had. The discovery got into the local press, and soon a third lookalike, David Kellman, turned up. The identical triplets, all adopted by different families, were joyfully reunited and only too happy to take on the fairy-tale collective identity bestowed on them by the television talk shows. Which is when things began to really get weird, and not only because neither the boys nor their adoptive parents had known that other siblings existed.\u003c/p>\n\u003cp>If \u003cem>Three Identical Strangers\u003c/em> — an extraordinary documentary about the three brothers by British director Tim Wardle — were only about the deathless allure of identical offspring, it would still be a riveting tale. The demonstrable sameness of siblings hatched from the same egg excites the friction between our insistence on individual uniqueness and our desire for a mirror-image Other who will understand and defend us and keep us company forever. Or so the fantasy goes.\u003c/p>\n\u003cp>It didn’t hurt that the three boys, as we see in home movies and clips from the television talk circuit, were telegenic teddy bears with liquid brown eyes, masses of black curls and bashful, camera-ready grins. Paraded before an enthralled public, they dutifully showed up in the same outfits, crossed their legs in unison on demand, confessed under pressure to having the same taste in women. All had wrestled in high school, and wasn’t it amazing that they all had adopted sisters? Bobby, Eddy, and David made the nightclub rounds, got married, opened a restaurant together. Their celebrity status was predicated on their sameness, and for so long as they could play along with the packaging, it was all so super-cute. Until it wasn’t, and here the boys’ story, or stories (the plural bursts with significance), went from amazing to incredible to very, very dark.\u003c/p>\n\u003cp>https://youtu.be/uM5TQ4f7ycw\u003c/p>\n\u003cp>On its face, \u003cem>Three Identical Strangers\u003c/em> presents as a straight-ahead documentary with the usual mix of home and media footage, re-enactments, and testimony from friends, family, other interested parties as well as two of the siblings themselves. In fact, the film is an artfully constructed investigative narrative structured to give us the sense of discovering, along with the boys and their families, several layers of buried secrets and lies that blighted their adult lives. If ever a story called for multiple narratives and deep digging into the past it’s this one. The triplets kept shedding identities and starting over in cataclysmic renewal — once at birth, again when they met and got swept into a media circus, and then, as new information peeled back their histories apart and together, in a reckoning that undid one of them and did serious damage to the others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From the moment they were born, the film shows, the adoptive families fell victim to casual abuses of power, from the adoption agency that concealed their biological parentage and their triplet status, to the scientists who used them as guinea pigs for a study of nature versus nurture that was never published, to the media that trapped them inside a fairy tale they could never live up to. Watching these families get gobbled up by skewed exposure to the public eye, I was reminded of Andrew Jarecki’s equally riveting 2003 doc \u003cem>Capturing the Friedmans\u003c/em>, in which an already troubled Long island family caught up in a child abuse case was further crucified by rushes to judgment on the part of the police, the courts, the media and their local community.\u003c/p>\n\u003cp>Wardle captures the families’ outrage at what had been kept from them. Sensitive to historical context too, he brings in journalist Lawrence Wright, who wrote a book about twin studies, as well as former researchers on the study, to show that ethical concerns about privacy and disclosure were less encoded into professional practice in the sixties than they are today. Still, interpreting the past through re-enactment can be tricky. The adoption agency is closed now and there’s no one to verify the dramatized memory of one adoptive father who recalls stumbling on board members toasting one another with champagne after a meeting in which they thought they’d pacified angry parents with half-truths.\u003c/p>\n\u003cp>In yet another twist to a serpentine tale that Wardle tracks like a thriller, we learn that the triplets had one more thing in common: All had troubled passages from childhood through adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they spanned the class spectrum and their parenting styles varied, with one disciplinarian father taking the weight of blame for his son’s emotional instability. When a former researcher reads from the notes he took during the testing, we learn as much about the heedless parent-blaming that prevailed among psychologists after World War II as about the boys’ early difficulties.\u003c/p>\n\u003cp>Once the movie gets deep into the muck of how vulnerable the triplets were to forces beyond their control, the differences between them become stark, and even the similarities don’t tally up to the fable of happy similarity in which the media had wrapped them. Here the nature-nurture debate heats up and the movie’s pendulum swings from heredity to environment as we witness the disparate fates that befell the three men. “It’s all about nurture!” exclaims one relative. Not \u003cem>all\u003c/em>, this nuanced film makes clear. And in one triplet’s baffled, anguished cry about a lost brother, “Why him and not me? I don’t know,” a clue emerges that there is nature, and there is nurture, and beyond both lie the unknowable mysteries of human character: Who succumbs to trauma and who survives, and what survival even means when you’ve lost your flesh and blood many times over.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Toward the end of \u003cem>Three Identical Strangers\u003c/em> Wardle brings two brothers together to inspect new information about their past on a laptop. What they discover is disturbing enough, but what really breaks the viewer’s heart is the nervous unease with which they greet each other, two identical strangers who were once close but seem not to have met in a while, and who seem to have lost the one thing that we assume twins should be able to count on. Trust.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in his grizzled late fifties, Bobby Shafran is an affable, ordinary fellow whose life ran away from him back in 1980, when the nineteen-year-old freshman drove his beat-up Volvo to enter community college in upstate New York. He was puzzled at being effusively greeted by fellow students who called him Eddy. It quickly transpired that he was a dead ringer for another student at the college named Eddy Galland, who turned out to be the twin Bobby never knew he had. The discovery got into the local press, and soon a third lookalike, David Kellman, turned up. The identical triplets, all adopted by different families, were joyfully reunited and only too happy to take on the fairy-tale collective identity bestowed on them by the television talk shows. Which is when things began to really get weird, and not only because neither the boys nor their adoptive parents had known that other siblings existed.\u003c/p>\n\u003cp>If \u003cem>Three Identical Strangers\u003c/em> — an extraordinary documentary about the three brothers by British director Tim Wardle — were only about the deathless allure of identical offspring, it would still be a riveting tale. The demonstrable sameness of siblings hatched from the same egg excites the friction between our insistence on individual uniqueness and our desire for a mirror-image Other who will understand and defend us and keep us company forever. Or so the fantasy goes.\u003c/p>\n\u003cp>It didn’t hurt that the three boys, as we see in home movies and clips from the television talk circuit, were telegenic teddy bears with liquid brown eyes, masses of black curls and bashful, camera-ready grins. Paraded before an enthralled public, they dutifully showed up in the same outfits, crossed their legs in unison on demand, confessed under pressure to having the same taste in women. All had wrestled in high school, and wasn’t it amazing that they all had adopted sisters? Bobby, Eddy, and David made the nightclub rounds, got married, opened a restaurant together. Their celebrity status was predicated on their sameness, and for so long as they could play along with the packaging, it was all so super-cute. Until it wasn’t, and here the boys’ story, or stories (the plural bursts with significance), went from amazing to incredible to very, very dark.\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/uM5TQ4f7ycw'\n title='//www.youtube.com/embed/uM5TQ4f7ycw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On its face, \u003cem>Three Identical Strangers\u003c/em> presents as a straight-ahead documentary with the usual mix of home and media footage, re-enactments, and testimony from friends, family, other interested parties as well as two of the siblings themselves. In fact, the film is an artfully constructed investigative narrative structured to give us the sense of discovering, along with the boys and their families, several layers of buried secrets and lies that blighted their adult lives. If ever a story called for multiple narratives and deep digging into the past it’s this one. The triplets kept shedding identities and starting over in cataclysmic renewal — once at birth, again when they met and got swept into a media circus, and then, as new information peeled back their histories apart and together, in a reckoning that undid one of them and did serious damage to the others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the moment they were born, the film shows, the adoptive families fell victim to casual abuses of power, from the adoption agency that concealed their biological parentage and their triplet status, to the scientists who used them as guinea pigs for a study of nature versus nurture that was never published, to the media that trapped them inside a fairy tale they could never live up to. Watching these families get gobbled up by skewed exposure to the public eye, I was reminded of Andrew Jarecki’s equally riveting 2003 doc \u003cem>Capturing the Friedmans\u003c/em>, in which an already troubled Long island family caught up in a child abuse case was further crucified by rushes to judgment on the part of the police, the courts, the media and their local community.\u003c/p>\n\u003cp>Wardle captures the families’ outrage at what had been kept from them. Sensitive to historical context too, he brings in journalist Lawrence Wright, who wrote a book about twin studies, as well as former researchers on the study, to show that ethical concerns about privacy and disclosure were less encoded into professional practice in the sixties than they are today. Still, interpreting the past through re-enactment can be tricky. The adoption agency is closed now and there’s no one to verify the dramatized memory of one adoptive father who recalls stumbling on board members toasting one another with champagne after a meeting in which they thought they’d pacified angry parents with half-truths.\u003c/p>\n\u003cp>In yet another twist to a serpentine tale that Wardle tracks like a thriller, we learn that the triplets had one more thing in common: All had troubled passages from childhood through adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they spanned the class spectrum and their parenting styles varied, with one disciplinarian father taking the weight of blame for his son’s emotional instability. When a former researcher reads from the notes he took during the testing, we learn as much about the heedless parent-blaming that prevailed among psychologists after World War II as about the boys’ early difficulties.\u003c/p>\n\u003cp>Once the movie gets deep into the muck of how vulnerable the triplets were to forces beyond their control, the differences between them become stark, and even the similarities don’t tally up to the fable of happy similarity in which the media had wrapped them. Here the nature-nurture debate heats up and the movie’s pendulum swings from heredity to environment as we witness the disparate fates that befell the three men. “It’s all about nurture!” exclaims one relative. Not \u003cem>all\u003c/em>, this nuanced film makes clear. And in one triplet’s baffled, anguished cry about a lost brother, “Why him and not me? I don’t know,” a clue emerges that there is nature, and there is nurture, and beyond both lie the unknowable mysteries of human character: Who succumbs to trauma and who survives, and what survival even means when you’ve lost your flesh and blood many times over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tab Hunter, the blond actor and singer who was a heartthrob for millions of teenagers in the 1950s with such films as \u003cem>Battle Cry\u003c/em> and \u003cem>Damn Yankees\u003c/em> and received new attention decades later when he revealed that he was gay, has died. He was 86.\u003c/p>\n\u003cp>Producer and spouse Allan Glaser said Hunter died Sunday of a blood clot in his leg that caused cardiac arrest. Glaser called the death “sudden and unexpected.”\u003cbr>\nHunter was a star for several years. In addition to his hit movies, his recording of “Young Love” topped the Billboard pop chart in 1957.\u003c/p>\n\u003cp>But in his 2005 memoir, \u003cem>Tab Hunter Confidential: The Making of a Movie Star\u003c/em>, Hunter recounted the stresses of being a love object to millions of young women when he was, in reality, a gay man.\u003c/p>\n\u003cp>“I believed, wholeheartedly — still do — that a person’s happiness depends on being true to themselves,” he wrote. “The dilemma, of course, that was being true to myself — and I’m talking sexually now — was impossible in 1953.”\u003c/p>\n\u003cp>Among those stars honoring Hunter on Monday included Harvey Fierstein, who called Hunter a “gay icon” and a “true gentleman” on Twitter, adding, “We shared some good laughs back in the 80’s. I was always fond of this dear man.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Zachary Quinto on Instagram also cheered Hunter’s “vital and generous nature” and called him a “pioneer of self-acceptance” who moved through the world “with authenticity as his guide.” GLAAD tweeted “Our hearts are with Tab’s loved ones.”\u003cbr>\nBorn Arthur Andrew Kelm, his screen tab (slang for “name” at the time) was fabricated by Henry Willson, the same talent agent who came up with the names Rock Hudson and Rory Calhoun.\u003c/p>\n\u003cp>The legend goes that Willson said to the young man: “We’ve got to find something to tab you with. Do you have any hobbies?” His client answered, “I ride horses. Hunters.” Agent: “That’s it! We’ll call you Tab Hunter.”\u003c/p>\n\u003cp>With no dramatic training, Hunter was cast in a minor role in the 1950 drama, \u003cem>The Lawless\u003c/em>. The fuss over the young actor began two years later when he appeared bare-chested opposite Linda Darnell in the British-made \u003cem>Island of Desire\u003c/em>. Soon his handsome face and muscular build appeared on magazine covers. Warner Bros., alert to the increasingly important youth market, signed him to a contract.\u003c/p>\n\u003cp>Hunter made a flurry of movies in the latter half of the 1950s, aimed at capitalizing on his popularity with young girls. The films included such war dramas as \u003cem>Battle Cry\u003c/em> (with Van Heflin) and \u003cem>Lafayette Escadrille\u003c/em> (Clint Eastwood in a small role). He made the Westerns \u003cem>The Burning Hills\u003c/em> (Natalie Wood) and \u003cem>They Came to Cordura\u003c/em> (Gary Cooper, Rita Hayworth). And he made romantic comedies like \u003cem>The Pleasure of His Company \u003c/em>(Fred Astaire, Debbie Reynolds.)\u003c/p>\n\u003cp>A highlight was the 1958 \u003cem>Damn Yankees\u003c/em>, an adaptation of the hit Broadway musical with Gwen Verdon and Ray Walston in their Tony-winning New York roles and the original director, George Abbott, sharing direction with Stanley Donen. The New York Times’ critic noted that Hunter “has the clean, naive look of a lad breaking into the big leagues and into the magical company of a first-rate star.”\u003c/p>\n\u003cp>Besides the movies, he displayed his athletic skills — he had been a figure skater as well as horseman — in a TV special, \u003cem>Hans Brinker, or the Silver Skates\u003c/em>.\u003c/p>\n\u003cp>As with so many pop idols, his fans grew up and a new generation sought other favorites. His slide followed the classic pattern: to a television series (\u003cem>The Tab Hunter Show\u003c/em>, on NBC, 1960-62); European films (\u003cem>The Golden Arrow)\u003c/em> and cheap kid flicks (\u003cem>Ride the Wild Surf.\u003c/em>) In his memoir, he took pains to note that R\u003cem>ide the Wild Surf\u003c/em> was his only beach-party movie; his \u003cem>Operation Bikini\u003c/em>, despite its title, was “yet another war movie.”\u003c/p>\n\u003cp>Over the years, he also played small roles in \u003cem>The Loved One\u003c/em>, \u003cem>The Life and Times of Judge Roy Bean\u003c/em> and \u003cem>Grease 2.\u003c/em>\u003c/p>\n\u003cp>In the 1980s, he won new fans by appearing in cult movies with Divine, the 300-pound drag performer, notably John Waters’ 1981 \u003cem>Polyester\u003c/em> and Paul Bartel’s 1985 \u003cem>Lust in the Dust\u003c/em>, co-produced by Hunter himself.\u003c/p>\n\u003cp>Of \u003cem>Polyester\u003c/em>, Hunter wrote: “Everybody got the joke. … For both John and me, our collaboration paid huge dividends: I’d helped ‘legitimize’ his brand of movie, and he made me ‘hip’ overnight.”\u003c/p>\n\u003cp>Hunter appeared on Broadway in 1964 in Tennessee Williams’ \u003cem>The Milk Train Doesn’t Stop Here Anymore\u003c/em> opposite the formidable Tallulah Bankhead. The play closed within days, and he said it was “completely buried under Tallulah’s offhanded trademark campiness.”\u003c/p>\n\u003cp>Hunter was born in 1931 in New York City, the second son of a mechanic and his German immigrant wife. His father left the family two years later and the boy took his mother’s name, Gelien. Young Arthur Gelien grew up in San Francisco and Long Beach, California, and joined the Coast Guard at 15, lying about his age.\u003c/p>\n\u003cp>While in New York, he saw Broadway plays and became interested in acting. Back in California, Willson arranged for a two-word role in a small Western, \u003cem>The Lawless\u003c/em>. He got $500 and a new name.\u003c/p>\n\u003cp>In his memoir, he said that his career flourished despite some innuendo and smear articles in the scandal sheets — “clear evidence that despite its self-righteous claims, ‘Confidential’ magazine did not influence the taste and opinions of mainstream America.”\u003c/p>\n\u003cp>Writing the book was difficult, he told The Associated Press in 2005, “because I’m a really private person. I grew up full of denial. I just didn’t like any suggestions or questioning of my sexuality.”\u003c/p>\n\u003cp>In 1960, Hunter’s boy-next-door reputation did take a hit when he was charged with cruelty for allegedly beating his dog. (He was acquitted.) In recent years, Hunter appeared in dinner theaters and organized film projects. After living on a ranch in New Mexico for a time, he took a home in Montecito in Santa Barbara County with Glaser.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He didn’t dwell on his Hollywood career or regret losing it. “I had my fling, and I was very fortunate,” he remarked. “But that’s all in my past.”\u003cbr>\n___\u003cbr>\nThe late AP Entertainment Writer Bob Thomas contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zachary Quinto on Instagram also cheered Hunter’s “vital and generous nature” and called him a “pioneer of self-acceptance” who moved through the world “with authenticity as his guide.” GLAAD tweeted “Our hearts are with Tab’s loved ones.”\u003cbr>\nBorn Arthur Andrew Kelm, his screen tab (slang for “name” at the time) was fabricated by Henry Willson, the same talent agent who came up with the names Rock Hudson and Rory Calhoun.\u003c/p>\n\u003cp>The legend goes that Willson said to the young man: “We’ve got to find something to tab you with. Do you have any hobbies?” His client answered, “I ride horses. Hunters.” Agent: “That’s it! We’ll call you Tab Hunter.”\u003c/p>\n\u003cp>With no dramatic training, Hunter was cast in a minor role in the 1950 drama, \u003cem>The Lawless\u003c/em>. The fuss over the young actor began two years later when he appeared bare-chested opposite Linda Darnell in the British-made \u003cem>Island of Desire\u003c/em>. Soon his handsome face and muscular build appeared on magazine covers. Warner Bros., alert to the increasingly important youth market, signed him to a contract.\u003c/p>\n\u003cp>Hunter made a flurry of movies in the latter half of the 1950s, aimed at capitalizing on his popularity with young girls. The films included such war dramas as \u003cem>Battle Cry\u003c/em> (with Van Heflin) and \u003cem>Lafayette Escadrille\u003c/em> (Clint Eastwood in a small role). He made the Westerns \u003cem>The Burning Hills\u003c/em> (Natalie Wood) and \u003cem>They Came to Cordura\u003c/em> (Gary Cooper, Rita Hayworth). And he made romantic comedies like \u003cem>The Pleasure of His Company \u003c/em>(Fred Astaire, Debbie Reynolds.)\u003c/p>\n\u003cp>A highlight was the 1958 \u003cem>Damn Yankees\u003c/em>, an adaptation of the hit Broadway musical with Gwen Verdon and Ray Walston in their Tony-winning New York roles and the original director, George Abbott, sharing direction with Stanley Donen. The New York Times’ critic noted that Hunter “has the clean, naive look of a lad breaking into the big leagues and into the magical company of a first-rate star.”\u003c/p>\n\u003cp>Besides the movies, he displayed his athletic skills — he had been a figure skater as well as horseman — in a TV special, \u003cem>Hans Brinker, or the Silver Skates\u003c/em>.\u003c/p>\n\u003cp>As with so many pop idols, his fans grew up and a new generation sought other favorites. His slide followed the classic pattern: to a television series (\u003cem>The Tab Hunter Show\u003c/em>, on NBC, 1960-62); European films (\u003cem>The Golden Arrow)\u003c/em> and cheap kid flicks (\u003cem>Ride the Wild Surf.\u003c/em>) In his memoir, he took pains to note that R\u003cem>ide the Wild Surf\u003c/em> was his only beach-party movie; his \u003cem>Operation Bikini\u003c/em>, despite its title, was “yet another war movie.”\u003c/p>\n\u003cp>Over the years, he also played small roles in \u003cem>The Loved One\u003c/em>, \u003cem>The Life and Times of Judge Roy Bean\u003c/em> and \u003cem>Grease 2.\u003c/em>\u003c/p>\n\u003cp>In the 1980s, he won new fans by appearing in cult movies with Divine, the 300-pound drag performer, notably John Waters’ 1981 \u003cem>Polyester\u003c/em> and Paul Bartel’s 1985 \u003cem>Lust in the Dust\u003c/em>, co-produced by Hunter himself.\u003c/p>\n\u003cp>Of \u003cem>Polyester\u003c/em>, Hunter wrote: “Everybody got the joke. … For both John and me, our collaboration paid huge dividends: I’d helped ‘legitimize’ his brand of movie, and he made me ‘hip’ overnight.”\u003c/p>\n\u003cp>Hunter appeared on Broadway in 1964 in Tennessee Williams’ \u003cem>The Milk Train Doesn’t Stop Here Anymore\u003c/em> opposite the formidable Tallulah Bankhead. The play closed within days, and he said it was “completely buried under Tallulah’s offhanded trademark campiness.”\u003c/p>\n\u003cp>Hunter was born in 1931 in New York City, the second son of a mechanic and his German immigrant wife. His father left the family two years later and the boy took his mother’s name, Gelien. Young Arthur Gelien grew up in San Francisco and Long Beach, California, and joined the Coast Guard at 15, lying about his age.\u003c/p>\n\u003cp>While in New York, he saw Broadway plays and became interested in acting. Back in California, Willson arranged for a two-word role in a small Western, \u003cem>The Lawless\u003c/em>. He got $500 and a new name.\u003c/p>\n\u003cp>In his memoir, he said that his career flourished despite some innuendo and smear articles in the scandal sheets — “clear evidence that despite its self-righteous claims, ‘Confidential’ magazine did not influence the taste and opinions of mainstream America.”\u003c/p>\n\u003cp>Writing the book was difficult, he told The Associated Press in 2005, “because I’m a really private person. I grew up full of denial. I just didn’t like any suggestions or questioning of my sexuality.”\u003c/p>\n\u003cp>In 1960, Hunter’s boy-next-door reputation did take a hit when he was charged with cruelty for allegedly beating his dog. (He was acquitted.) In recent years, Hunter appeared in dinner theaters and organized film projects. After living on a ranch in New Mexico for a time, he took a home in Montecito in Santa Barbara County with Glaser.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He didn’t dwell on his Hollywood career or regret losing it. “I had my fling, and I was very fortunate,” he remarked. “But that’s all in my past.”\u003cbr>\n___\u003cbr>\nThe late AP Entertainment Writer Bob Thomas contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nothing succeeds in Hollywood like success. So box office champs Jordan Peele (\u003cem>Get Out\u003c/em>), Ryan Coogler (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13824804/decoding-black-panthers-technocratic-afrofuturist-utopia\" rel=\"noopener\" target=\"_blank\">Black Panther\u003c/a>\u003c/em>) and Ava DuVernay (\u003cem>A Wrinkle in Time\u003c/em>), best picture director Barry Jenkins (\u003cem>Moonlight\u003c/em>) and Oscar nominee Dee Rees (\u003cem>Mudbound\u003c/em>) now have the clout to continue making movies about black people (and anyone else they like). With luck and positive word of mouth, the Oakland-set indie features \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>\u003c/em> (now in theaters) and \u003cem>Blindspotting\u003c/em> (opening July 20), will click with audiences and launch their creators’ careers.\u003c/p>\n\u003cp>This isn’t the first time a wave of black filmmakers galvanized American movies. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-black-powers/#more-upcoming-events-99701\" rel=\"noopener\" target=\"_blank\">Black Powers: Reframing Hollywood\u003c/a> (July 12-29), the sixth edition of SFMOMA and SFFILM’s insightful dialogue between older and contemporary films, isn’t inspired by a single filmmaker (like previous Modern Cinema series centered on Claire Denis, Johnnie To and Todd Haynes) but by an infiltration process: the ebb and flow of black filmmakers past and around the studio greenlighters who serve as de facto gatekeepers.\u003c/p>\n\u003cfigure id=\"attachment_13836750\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg\" alt=\"Jennifer Beals and Denzel Washington in 'Devil in a Blue Dress,' 1995.\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13836750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Beals and Denzel Washington in ‘Devil in a Blue Dress,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first weekend of the three-part series boasts an array of landmark films, from the peerless writer-director Oscar Micheaux’s 1925 silent \u003cem>Body and Soul\u003c/em> to Charles Burnett’s 1978 low-key working-class character drama \u003cem>Killer of Sheep\u003c/em> to writer-director-actor Wendell B. Harris’ 1989 fact-based impostor fable \u003cem>Chameleon Street\u003c/em>. Spike Lee’s career-making \u003cem>Do the Right Thing\u003c/em> (a summer 1989 sensation) rounds out the lineup with Jenkins’ delectable S.F.-set 2008 debut \u003cem>Medicine for Melancholy\u003c/em> and last year’s \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>The other two weekends are given over to films that clamor to be re-watched (or discovered) post-Ferguson and post-\u003cem>Black Panther\u003c/em>, augmented with an array of guests (check the lineup). The private-eye movies \u003cem>Shaft\u003c/em> (directed by Gordon Parks) and Carl Franklin’s \u003cem>Devil in a Blue Dress\u003c/em> (the first in what should have been a franchise based on Walter Mosley’s series of Easy Rawlins novels) shouldn’t be underestimated as pulp entertainment. \u003c/p>\n\u003cfigure id=\"attachment_13836751\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg\" alt=\"Still from 'Watermelon Woman.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13836751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s ‘The Watermelon Woman,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Godfrey Cambridge, an unjustly forgotten comedian and actor, is a brassy pleasure in \u003cem>Watermelon Man\u003c/em> and \u003cem>Cotton Comes to Harlem\u003c/em>. Cheryl Dunye’s 1996 queer classic, \u003cem>The Watermelon Woman\u003c/em>, connects eras in African-American life and cinema, while \u003cem>Pariah\u003c/em>, the 2011 feature debut by Dee Rees, tells an unflinching, sexually charged coming-of-age story.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some suggest, on the basis of \u003cem>Black Panther\u003c/em>, that directing a superhero movie is the ultimate proof that a black filmmaker has crashed the gates. The route from “Black Powers” to superpowers isn’t easy to trace or follow, but it’s enlightening to try.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nothing succeeds in Hollywood like success. So box office champs Jordan Peele (\u003cem>Get Out\u003c/em>), Ryan Coogler (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13824804/decoding-black-panthers-technocratic-afrofuturist-utopia\" rel=\"noopener\" target=\"_blank\">Black Panther\u003c/a>\u003c/em>) and Ava DuVernay (\u003cem>A Wrinkle in Time\u003c/em>), best picture director Barry Jenkins (\u003cem>Moonlight\u003c/em>) and Oscar nominee Dee Rees (\u003cem>Mudbound\u003c/em>) now have the clout to continue making movies about black people (and anyone else they like). With luck and positive word of mouth, the Oakland-set indie features \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" rel=\"noopener\" target=\"_blank\">Sorry to Bother You\u003c/a>\u003c/em> (now in theaters) and \u003cem>Blindspotting\u003c/em> (opening July 20), will click with audiences and launch their creators’ careers.\u003c/p>\n\u003cp>This isn’t the first time a wave of black filmmakers galvanized American movies. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-black-powers/#more-upcoming-events-99701\" rel=\"noopener\" target=\"_blank\">Black Powers: Reframing Hollywood\u003c/a> (July 12-29), the sixth edition of SFMOMA and SFFILM’s insightful dialogue between older and contemporary films, isn’t inspired by a single filmmaker (like previous Modern Cinema series centered on Claire Denis, Johnnie To and Todd Haynes) but by an infiltration process: the ebb and flow of black filmmakers past and around the studio greenlighters who serve as de facto gatekeepers.\u003c/p>\n\u003cfigure id=\"attachment_13836750\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg\" alt=\"Jennifer Beals and Denzel Washington in 'Devil in a Blue Dress,' 1995.\" width=\"1200\" height=\"786\" class=\"size-full wp-image-13836750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-1180x773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-960x629.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Devil-in-a-Blue-Dress_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Beals and Denzel Washington in ‘Devil in a Blue Dress,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first weekend of the three-part series boasts an array of landmark films, from the peerless writer-director Oscar Micheaux’s 1925 silent \u003cem>Body and Soul\u003c/em> to Charles Burnett’s 1978 low-key working-class character drama \u003cem>Killer of Sheep\u003c/em> to writer-director-actor Wendell B. Harris’ 1989 fact-based impostor fable \u003cem>Chameleon Street\u003c/em>. Spike Lee’s career-making \u003cem>Do the Right Thing\u003c/em> (a summer 1989 sensation) rounds out the lineup with Jenkins’ delectable S.F.-set 2008 debut \u003cem>Medicine for Melancholy\u003c/em> and last year’s \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>The other two weekends are given over to films that clamor to be re-watched (or discovered) post-Ferguson and post-\u003cem>Black Panther\u003c/em>, augmented with an array of guests (check the lineup). The private-eye movies \u003cem>Shaft\u003c/em> (directed by Gordon Parks) and Carl Franklin’s \u003cem>Devil in a Blue Dress\u003c/em> (the first in what should have been a franchise based on Walter Mosley’s series of Easy Rawlins novels) shouldn’t be underestimated as pulp entertainment. \u003c/p>\n\u003cfigure id=\"attachment_13836751\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg\" alt=\"Still from 'Watermelon Woman.'\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13836751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/watermelon_woman_1200-520x390.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s ‘The Watermelon Woman,’ 1995. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Godfrey Cambridge, an unjustly forgotten comedian and actor, is a brassy pleasure in \u003cem>Watermelon Man\u003c/em> and \u003cem>Cotton Comes to Harlem\u003c/em>. Cheryl Dunye’s 1996 queer classic, \u003cem>The Watermelon Woman\u003c/em>, connects eras in African-American life and cinema, while \u003cem>Pariah\u003c/em>, the 2011 feature debut by Dee Rees, tells an unflinching, sexually charged coming-of-age story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Not \u003cem>another\u003c/em> Elvis movie,” you scream at the heavens in the year 2018. “The man’s been dead for four decades. Every part of him has been strip-mined for white-nostalgia money already. My parents \u003cem>just\u003c/em> dragged me to the touring production of \u003cem>Million Dollar Quartet\u003c/em>. Show some \u003cem>mercy\u003c/em>, people.”\u003c/p>\n\u003cp>First of all: point taken. Secondly: don’t be cruel. You haven’t seen \u003cem>The King\u003c/em> yet. And you’re going to want to. Oh, yes.\u003c/p>\n\u003cp>Eugene Jarecki’s latest documentary is a hunk-a, hunk-a burning zeitgeist, the kind of movie that just might shake you from your sleep at night weeks later. Far from an HBO greatest-hits biography, \u003cem>The King\u003c/em> dares to use Elvis Presley as a metaphor for everything that’s wrong with our country, while still paying tribute to his lasting qualities and the folks he managed to inspire from every walk of life. It makes leaps of logic that defy all common sense, and yet somehow everything clicks together in a grand display of cinematic fireworks, scored to generations of musicians that came before and after the film’s subject. It is, as an interviewee says, “one of those epiphanies where thousands of meanings come crashing down at once.”\u003c/p>\n\u003cp>https://youtu.be/csXtdjsqYLM\u003c/p>\n\u003cp>How to describe what’s going on here? Jarecki has rented Presley’s 1963 Rolls-Royce for a road trip across America, making stops at significant signposts of his life: his birthplace in Tupelo, Mississippi; his early recording success in Memphis; his status upgrade in Nashville; his lost period in Hollywood making terrible teenybopper movies; his final, bloated, saggy years in Las Vegas; and many more in-between.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Time goes by so slowly,” the King croons from the piano, sweat pouring from his numbed, pudgy face, as the next 40 years fly by the rest of us like a bad dream: The glove don’t fit, the towers fall, the levees break. Watching the scene feels like we’re all synchronizing our watches to a better way to talk about entertainment, nostalgia and fame. Instead of “escaping from the real world,” we can have a productive conversation about it. Against all odds, Elvis lives. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Not \u003cem>another\u003c/em> Elvis movie,” you scream at the heavens in the year 2018. “The man’s been dead for four decades. Every part of him has been strip-mined for white-nostalgia money already. My parents \u003cem>just\u003c/em> dragged me to the touring production of \u003cem>Million Dollar Quartet\u003c/em>. Show some \u003cem>mercy\u003c/em>, people.”\u003c/p>\n\u003cp>First of all: point taken. Secondly: don’t be cruel. You haven’t seen \u003cem>The King\u003c/em> yet. And you’re going to want to. Oh, yes.\u003c/p>\n\u003cp>Eugene Jarecki’s latest documentary is a hunk-a, hunk-a burning zeitgeist, the kind of movie that just might shake you from your sleep at night weeks later. Far from an HBO greatest-hits biography, \u003cem>The King\u003c/em> dares to use Elvis Presley as a metaphor for everything that’s wrong with our country, while still paying tribute to his lasting qualities and the folks he managed to inspire from every walk of life. It makes leaps of logic that defy all common sense, and yet somehow everything clicks together in a grand display of cinematic fireworks, scored to generations of musicians that came before and after the film’s subject. It is, as an interviewee says, “one of those epiphanies where thousands of meanings come crashing down at once.”\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/csXtdjsqYLM'\n title='//www.youtube.com/embed/csXtdjsqYLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to describe what’s going on here? Jarecki has rented Presley’s 1963 Rolls-Royce for a road trip across America, making stops at significant signposts of his life: his birthplace in Tupelo, Mississippi; his early recording success in Memphis; his status upgrade in Nashville; his lost period in Hollywood making terrible teenybopper movies; his final, bloated, saggy years in Las Vegas; and many more in-between.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"rss": "https://feeds.npr.org/510312/podcast.xml"
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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",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"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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},
"freakonomics-radio": {
"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.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
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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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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"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.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"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": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"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": {
"site": "news",
"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"
}
},
"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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"source": "kqed",
"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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"source": "kqed",
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"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/",
"meta": {
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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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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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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": {
"site": "radio",
"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"
}
},
"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",
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