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"content": "\u003cp>Wielding a silver shovel instead of a lightsaber, \u003cem>Star Wars\u003c/em> creator George Lucas joined a handful of elected officials Wednesday in breaking ground on a billion-dollar museum dedicated to the art of visual storytelling.\u003c/p>\n\u003cp>Construction of the Lucas Museum of Narrative Art, a dream of the 73-year-old writer-director for more than a decade, is expected to be completed by the end of 2021.\u003c/p>\n\u003cp>Trucks rumbled by the museum site near downtown Los Angeles as Lucas, dressed casually in a white- and blue-checkered shirt, jeans and tennis shoes, thanked more than 100 well-wishers. Among them was his collaborator and longtime friend, director Steven Spielberg.\u003c/p>\n\u003cp>“I think it’s important to have a museum that, as I was joking and saying, supports all the orphan arts that nobody else wants to see, but that everybody loves,” Lucas said, describing the project.\u003c/p>\n\u003cp>His museum’s mission, he added, will be to explain the myths, legends, stories and portraits of people that shape societies and bring them together as one. The art will range from paintings and digital works to comic strips and, yes, movies like \u003cem>Star Wars\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To my feeling, popular art is an insight into a society and what they aspire to, what they really want, what they really are,” Lucas said before grabbing a shovel and joining several local officials in turning over some dirt.\u003c/p>\n\u003cp>At times, the groundbreaking resembled a movie premiere minus the red carpet, with television cameras and photographers capturing the moment. Lucas called on Spielberg to join him on the mound of dirt, directing his friend to give a thumbs-up to the cameras.\u003c/p>\n\u003cp>“It’s a great location,” Spielberg told him as they headed to a private reception. Lucas pointed out the blocks-long museum site that until recently was a parking lot behind the Los Angeles Memorial Coliseum where the 1932 and 1984 Olympics took place.\u003c/p>\n\u003cp>It will be transformed into a multistory museum resembling Han Solo’s Millennium Falcon spacecraft that appears to hover over an area surrounded by 11 acres of green space. The museum itself will contain more than 100,000 square feet of gallery space, underground parking, a restaurant, movie theaters and other amenities. Numerous programs are being planned for children from surrounding schools.\u003c/p>\n\u003cp>Lucas and his wife, Mellody Hobson, are picking up the cost, which museum officials expect will exceed $1 billion for construction and its operating endowment. That will make it the largest public gift ever given to a municipality, local officials say.\u003c/p>\n\u003cp>The museum will be in Exposition Park, across the street from the Natural History Museum of Los Angeles County, the California Science Center and the California African American Museum and on the edge of the University of Southern California, where Lucas studied in the 1960s.\u003c/p>\n\u003cp>Although Lucas attended college nearby, the site was the third choice for the museum. Lucas and his wife couldn’t reach an agreement with the director’s hometown of San Francisco or his wife’s hometown of Chicago.\u003c/p>\n\u003cp>The museum’s wide-ranging collection will include paintings by Norman Rockwell, Edgar Degas and Pierre-Auguste Renoir, comic strips by \u003cem>Peanuts\u003c/em> creator Charles Schulz and underground artist Robert Crumb, animation from films such as \u003cem>Who Framed Roger Rabbit\u003c/em> and special effects from films such as \u003cem>E.T. the Extra-Terrestrial\u003c/em>.\u003c/p>\n\u003cp>Classic films represented will range from 1927’s futuristic masterpiece \u003cem>Metropolis\u003c/em> and Orson Welles’ groundbreaking 1941 film \u003cem>Citizen Kane\u003c/em> to the Lucas-Spielberg collaborations on the \u003cem>Indiana Jones\u003c/em> movies.\u003c/p>\n\u003cp>And, of course, The Force will be strong at the museum. People will find everything from Luke Skywalker’s first lightsaber to Darth Vader’s helmet. Storyboards laying out the tale that Lucas created and that lives on in new film iterations also will be on display, along with stormtrooper uniforms and other set pieces.\u003c/p>\n\u003cp>Lucas, who has said mythologist Joseph Campbell’s \u003cem>The Hero With a Thousand Faces\u003c/em> helped inspire his \u003cem>Star Wars\u003c/em> stories, remarked Wednesday that he believes that without such tales, people don’t come together to gain common cultural understanding.\u003c/p>\n\u003cp>“Whether it’s a cave painting or whether it’s Apollo as a statue or whether it’s the Sistine Chapel, whether it’s Napoleon on a horse, whatever it is, that’s what we aspire to,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s a message, he added, that he hopes museum visitors will come away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Danny Trejo came of age in the California prison system, doing time in a juvenile detention center as well as in San Quentin, Folsom and Soledad, on charges relating to drugs. He says that background prepared him well for acting.\u003c/p>\n\u003cp>“Standing on the yard in San Quentin, knowing that there’s a riot coming, you’re absolutely scared to death with every fiber of your body,” Trejo says. “[But] you have to pretend you’re not. You have to stand there and make everybody think you like it.”\u003c/p>\n\u003cp>As an actor, he’s made a name for himself by playing menacing characters on TV shows like \u003cem>Breaking Bad\u003c/em> and in movies like \u003cem>Machete. \u003c/em>He jokes that he’s perfectly suited for the roles he’s landed: “Somebody finally got it right! They’re not using Marky Wahlberg to play the mean Chicano dude.”\u003c/p>\n\u003cp>Trejo still returns to prisons to talk with inmates. His latest project is the documentary \u003cem>Survivors Guide To Prison,\u003c/em> which focuses on injustices within the criminal justice system and highlights the cases of two men who spent decades behind bars for murders they didn’t commit. The film is available for streaming on Amazon and iTunes.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting addicted to heroin at age 12 \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My uncle gave me a fix when I was about 12. … In his defense, I got to say that I threatened to snitch on him if he didn’t give me some. I caught him fixing and I said, “Give me some,” and he said, “No.” And I said, “Give me some or I’ll tell.” So basically he gave me some, and from there on I found, again, a euphoric area that I liked, that my brain liked, and I was off and running.\u003c/p>\n\u003cp>\u003cstrong>On experiencing violence and rage in prison \u003c/strong>\u003c/p>\n\u003cp>There’s two types of people in prison: There’s predator and prey. You have to decide every day which you’re going to be, and it’s that simple. The more intimidating [you are], the more people you have behind you. Because I never seen a fist fight in prison, you understand? It’s so much easier to stab somebody and walk away — because if you get in a fight, if I sock you, you’re going to sock me back, and then we’re going to tussle and then [the guards are] going to shoot us. If I walk up behind you, stab you three times and walk away, I’m not going to get caught, and that is the idea: not to get caught.\u003c/p>\n\u003cp>Anger is probably something you don’t have in prison. You don’t have anger. You can’t afford to get mad. If it is worth your time, then you go directly to rage. … I can remember it’s like, I’ve watched attorneys argue and I’m waiting for somebody to get socked. Wait a minute? You’re not going to sock him? Because in prison, you don’t get angry, you go directly to rage, because that’s your defense. …\u003c/p>\n\u003cp>The bottom line to an argument is a murder, so if you say something to me that I think is an attack or belittling, I have to think, is this worth killing him over? … It only takes a split second.\u003c/p>\n\u003cp>\u003cstrong>On how he broke into acting \u003c/strong>\u003c/p>\n\u003cp>I was running around, trying to be an extra, getting some extra money … they used to give you $50 bucks for being an extra. I ran into a good friend of mine, a guy named Eddie Bunker, who was a great writer and people don’t know it. Eddie actually got famous because he could write writs [of habeas corpus] in prison. …\u003c/p>\n\u003cp>I knew him for years, and when I ran into him on a movie called \u003cem>Runaway Train\u003c/em> with Jon Voight and Eric Roberts, he asked me if I was still boxing, because he saw me win the lightweight and welterweight title up in San Quentin. … And I said, “Eddie, I’m 40 years old. I don’t want to get hit in the face anymore. I train. I’m in shape.” And he said, “We need somebody to train one of the actors how to box.” And I said, “What’s it pay?” And he said, “$320 a day,” and I said, “How bad you want this guy beat up?”\u003c/p>\n\u003cp>$320 a day! That was more money than I was making in a week and I was a drug counselor, right? So he was like, “No, you gotta be real careful because the actor’s real high-strung. He might sock you.” I said, “Eddie, for $320 a day give him a stick. Are you crazy? I been beat up for free, homes.” [So] I started training Eric Roberts how to box for the movie \u003cem>Runaway Train\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Patrick Jarenwattananon adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Danny+Trejo+On+Acting%2C+Addiction+And+Playing+%27The+Mean+Chicano+Dude%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"title": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You'",
"headTitle": "Let’s Overanalyze the Trailer for Boots Riley’s ‘Sorry to Bother You’ | KQED",
"content": "\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\u003c/p>\n\u003cp>https://youtu.be/enH3xA4mYcY\u003c/p>\n\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\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\n",
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"excerpt": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
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"description": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\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/enH3xA4mYcY'\n title='//www.youtube.com/embed/enH3xA4mYcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "Now Playing! At the Roxie, Kiarostami’s Final, Exquisite Elegy",
"headTitle": "Now Playing! At the Roxie, Kiarostami’s Final, Exquisite Elegy | KQED",
"content": "\u003cp>Inscrutable behind his shades, Abbas Kiarostami reveled in being an enigma. The world-renowned Iranian director’s refusal to be categorized was apparent from his neorealist masterpieces, such as \u003cem>Taste of Cherry\u003c/em> and \u003cem>The Wind Will Carry Us\u003c/em>, that employed novice or nonprofessional actors to blur the parameters signifying (and separating) fiction and nonfiction. However, although the art house world recognized Kiarostami as an iconoclast and a humanist, his predisposition to experiment often went unnoticed.\u003c/p>\n\u003cp>His final film, \u003cem>24 Frames\u003c/em>, completed under the supervision of his son Ahmad after Kiarostami’s death in July 2016, spotlights both the filmmaker’s acuity with short filmmaking and his fascination with nature photography. Working primarily from his own pictures of landscapes and wildlife, Kiarostami used CGI to depict what could have happened before or after the moment of exposure. The result is two dozen exquisitely shaped shorts that range from ephemeral episodes to esoteric experiments to meditative interludes.\u003c/p>\n\u003cfigure id=\"attachment_13826976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg\" alt=\"Still from Abbas Kiarostami's '24 Frames,' 2017.\" width=\"1200\" height=\"680\" class=\"size-full wp-image-13826976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-520x295.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Abbas Kiarostami’s ’24 Frames,’ 2017. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>24 Frames\u003c/em>, opening Friday, March 16 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=26056\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, is a rare and rarefied filmgoing experience. Now, a certain delicacy and poignancy accompanies the last work of a major director, but the waters run even deeper: \u003cem>24 Frames\u003c/em> proves, beyond all debate, that Abbas Kiarostami was not merely a great filmmaker but a major artist. Ahmad Kiarostami will be at the Roxie with writer and distributor Jonathan Marlow for a Q&A session after the 6:30pm screening on Saturday, March 17.\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>\u003ci>’24 Frames’ plays at San Francisco’s Roxie Theater March 16-22. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inscrutable behind his shades, Abbas Kiarostami reveled in being an enigma. The world-renowned Iranian director’s refusal to be categorized was apparent from his neorealist masterpieces, such as \u003cem>Taste of Cherry\u003c/em> and \u003cem>The Wind Will Carry Us\u003c/em>, that employed novice or nonprofessional actors to blur the parameters signifying (and separating) fiction and nonfiction. However, although the art house world recognized Kiarostami as an iconoclast and a humanist, his predisposition to experiment often went unnoticed.\u003c/p>\n\u003cp>His final film, \u003cem>24 Frames\u003c/em>, completed under the supervision of his son Ahmad after Kiarostami’s death in July 2016, spotlights both the filmmaker’s acuity with short filmmaking and his fascination with nature photography. Working primarily from his own pictures of landscapes and wildlife, Kiarostami used CGI to depict what could have happened before or after the moment of exposure. The result is two dozen exquisitely shaped shorts that range from ephemeral episodes to esoteric experiments to meditative interludes.\u003c/p>\n\u003cfigure id=\"attachment_13826976\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg\" alt=\"Still from Abbas Kiarostami's '24 Frames,' 2017.\" width=\"1200\" height=\"680\" class=\"size-full wp-image-13826976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1020x578.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-1180x669.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-375x213.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/29399id_004_1200-520x295.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Abbas Kiarostami’s ’24 Frames,’ 2017. \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>24 Frames\u003c/em>, opening Friday, March 16 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=26056\" rel=\"noopener\" target=\"_blank\">Roxie\u003c/a>, is a rare and rarefied filmgoing experience. Now, a certain delicacy and poignancy accompanies the last work of a major director, but the waters run even deeper: \u003cem>24 Frames\u003c/em> proves, beyond all debate, that Abbas Kiarostami was not merely a great filmmaker but a major artist. Ahmad Kiarostami will be at the Roxie with writer and distributor Jonathan Marlow for a Q&A session after the 6:30pm screening on Saturday, March 17.\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>\u003ci>’24 Frames’ plays at San Francisco’s Roxie Theater March 16-22. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/24-frames/?instance_id=\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Tale of Friendship and Luck (But Not Pecs), Propelled By 'The Room'",
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"content": "\u003cp>Bands \u003ca href=\"https://www.google.com/url?q=http://www.nme.com/photos/50-stories-behind-band-names-you-probably-don-t-know-1406319&sa=D&ust=1520536788401000&usg=AFQjCNEWjsvjJgPxN57qXdctP04PRaving\" target=\"_blank\" rel=\"noopener\">lift\u003c/a> their names from all sorts of bizarre places — \u003ca href=\"https://www.npr.org/artists/16002572/vampire-weekend\" target=\"_blank\" rel=\"noopener\">abandoned vampire movie scripts\u003c/a>, \u003ca href=\"https://www.npr.org/artists/16699158/fall-out-boy\" target=\"_blank\" rel=\"noopener\">extremely obscure characters from \u003cem>The Simpsons\u003c/em>\u003c/a>. For its part, the Kyoto-based duo of \u003ca href=\"http://www.wearenicelegs.com/\" target=\"_blank\" rel=\"noopener\">Nice Legs\u003c/a> is an homage to a throwaway line from “the worst movie ever made,” \u003cem>The Room\u003c/em>, and a typically stilted little romantic \u003ca href=\"https://theroomscriptblog.files.wordpress.com/2016/04/the-room-original-script-by-tommy-wiseau.pdf\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> between leading man Johnny (Tommy Wiseau) and his girlfriend, Lisa (Juliette Danielle):\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cem>JOHNNY\u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice legs. \u003c/em>\u003c/p>\n\u003cp>\u003cem>(HE’S MUMBLING.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>LISA\u003c/em>\u003c/p>\n\u003cp>\u003cem>(LISA IS TAPPING HIS SHOULDER.) \u003c/em>\u003c/p>\n\u003cp>\u003cem>You have nice pecs. \u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>“I always thought it was really funny because it was very awkward just watching him talk to his girlfriend saying, ‘You have nice legs,'” Greg Sestero, who played Wiseau’s friend Mark in the film, tells NPR Music. “To me, his gesture of his hands to his hair is pretty funny. [The line] stood out to me, as well.”\u003c/p>\n\u003cp>Nice Legs’ band name is a particularly dedicated reflection of \u003cem>The Room\u003c/em>‘s status as a newly minted cult classic, fueled by the film’s mesmerizingly deficient directing, acting and plotting. But aside from its odd tone, at its heart lies the strangely heartwarming/disturbing friendship between Johnny and Mark, which worked, in part, because of the Wiseau and Sistero’s real-life friendship. Their on-screen chemistry — if you care to call it that — is now being revisited in a new two-volume film, \u003cem>Best F(r)iends, \u003c/em>directed by Justin MacGregor.\u003c/p>\n\u003cp>When Nice Legs heard about the onscreen reunion, they sensed an opportunity.\u003c/p>\n\u003cp>“Basically, we saw that a new Tommy and Greg film was in production,” band member Mark Lentz tells NPR Music. “Then we dug around until we found the email of the production company.” From there, he lobbed an email into the abyss. For six months, nothing but radio silence. Then: “They responded out of the blue asking to work with us,” he says. “We took it as a good sign they opened the email with, ‘Oh hai, Mark!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OTu9N40E_MI\u003c/p>\n\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \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=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "For the Kyoto-based, Alabama-born duo of Nice Legs, its band name was more than just an homage to \u003cem>The Room \u003c/em>-- it was an homage to friendship that ended up yielding a sorta-lucky break.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sestero and the producers heard a solid, dreamy fit in the music, so the film executives obliged the cheerful outfit and handed over an early cut, resulting in the galloping “Mighty Three” and the sinister “End” being featured in the trailer for the film.\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/OTu9N40E_MI'\n title='//www.youtube.com/embed/OTu9N40E_MI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think their voice is unique and different,” Sestero says. “It goes beyond obviously liking \u003cem>The Room\u003c/em> and [naming] a band after \u003cem>The Room\u003c/em>. I think their songs fit in the mood of the film and I think they have a great edge to them, which helps the film. You could have a band that’s called You’re Tearing Me Apart or other stuff, [and] it’s unusable. But, luckily for us, their songs really were the right quality.”\u003c/p>\n\u003cp>Nice Legs’ homage wasn’t only to \u003cem>The Room\u003c/em>‘s practically avant-garde awkwardness: Lentz and his collaborator Lauren E. Walker saw a bit of themselves in Wiseau and Sestero’s friendship, too.\u003c/p>\n\u003cp>“We are also quirky weirdos living on a dream,” Walker says. Lentz and Walker were born a month apart in the same Little Rock, Arkansas hospital. A patchwork series of events led the two to meet for the first time in, of all places, a DIY art space in South Korea, where they formed Nice Legs in 2014. When Lentz got a job offer, the two made good on a blood oath to keep the band together, so they relocated to Kyoto, where they now both live as roommates. \u003c/p>\n\u003cp>“Like Tommy and Greg’s famed meeting [in a San Francisco acting class], it sort of feels like destiny brought us together,” she adds. “As far as our relationship, I think it’s similar to Tommy and Greg’s in that we try to make up for our individual weaknesses by working together and playing on our strengths as a unit, and the chemistry of our friendship.” \u003c/p>\n\u003cp>\u003cem>Best F(r)iends\u003c/em> dives deeper into Wiseau and Sestero’s unique bond, within the form of L.A. noir. The trailer — dark colors, a brooding tone, a couple scarlet lines spelling out tumultuous waters ahead — is accompanied by Nice Legs’ “Mighty Three,” almost surfy in its downcast guitar licks beneath both men repeating the phrase “friendship before money.” \u003c/p>\n\u003cp>The whole situation is already, appropriately, meta as hell; it’s about two guys, by said two guys, partially soundtracked (Daniel Platzman from Imagine Dragons did the official score) by two people who named their band after the very same two guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m really glad we didn’t go with Nice Pecs,” Lentz says. “Now \u003cem>that\u003c/em> would be strange.” \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=A+Tale+Of+Friendship+And+Luck+%28But+Not+Pecs%29%2C+Propelled+By+%27The+Room%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\u003c/p>\n\u003cp>https://youtu.be/AAFRI12Cxb0\u003c/p>\n\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \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=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the hands of a cynical genius like Billy Wilder or a wily craftsman like Steven Soderbergh, \u003cem>Gringo\u003c/em> might’ve become a satire for the ages, a mordant document that people of the future could study to understand this morally vacuous moment in the life of our republic. Alas, this bloody farce was directed by one Nash Edgerton — a stuntman and prolific music video director, and the big brother of star Joel Edgerton, who can currently be seen in the even-gnarlier spy drama \u003cem>Red Sparrow\u003c/em> in the theater down the hall. The elder Edgerton is a competent storyteller: \u003cem>Gringo’\u003c/em>s Byzantine plot mostly scans, and he keeps its sardonic tone consistent throughout. But just because a movie hits all the notes doesn’t mean it sings.\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/AAFRI12Cxb0'\n title='//www.youtube.com/embed/AAFRI12Cxb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s too bad, because \u003cem>Gringo\u003c/em> has a lot going for it, including some occasionally sharp dialogue (by either Matthew Stone or Anthony Tambakis, who contributed to the bonebreaking and tearjerking Joel Edgerton /Tom Hardy MMA drama \u003cem>Warrior\u003c/em>) and a quartet of funny performances from players not primarily known for bringing the yuks: L’il Edgerton, Charlize Theron in full \u003cem>femme fatale \u003c/em>mode and beardy heavy Sharlto Copley.\u003c/p>\n\u003cp>The best and most surprising of the four is David Oyelowo, the versatile British actor who rose to the occasion to embody Martin Luther King, Jr. in \u003cem>Selma\u003c/em>. Here he plays Harold, a decent but all-too-credulous immigrant from Nigeria who works as a manager in the Chicago pharmaceuticals firm of which Edgerton and Theron are co-CEOs. (They make a habit of office trysts during business hours.) Harold is an honest man who sees the best in everyone, which in this genre means that everyone from his accountant to his bosses to his wife (Thandie Newton, in a truly thankless part) walks all over him. \u003c/p>\n\u003cp>When Harold learns he’ll soon be pushed out in a merger, he decides to extort a severance package of sorts by faking his own kidnapping, \u003cem>Fargo\u003c/em>-style. But just like hapless William H. Macy in that Coen Brothers classic, he’s unknowingly allied himself with dim-bulb crooks whose stupidity makes them \u003cem>more\u003c/em> dangerous, not less. There’s also a subplot involving Harry Treadaway and Amanda Seyfried as a small-time dealer and his pushover girlfriend who take a criminal errand to Mexico City that feels fully disposable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Did I call this thing a satire? With its ready embrace of stereotypes — Oyelowo’s hardworking immigrant, Edgerton’s sleazy Pharma bro, Theron’s backstabbing man-eater, Seyfried’s virtuous hanger-on, plus Carlos Corona as a Beatles-quoting Mexican cartel kingpin known as, um, The Black Panther — \u003cem>Gringo\u003c/em> often borders on pantomime. What redeems it, sort of, is Copley of all people. The South African actor and filmmaker has played trigger-happy psychos or gun-toting beardos in too many so-so films to list. The minor variation this time is that is that his mercenary character — the estranged brother of Edgerton’s swaggering CEO, because sure — has renounced his life of violence and dedicated himself to humanitarian relief work. So when Edgerton calls upon Copley’s Very Particular Set of Skills to try to rescue Harold rather than pony up the ransom money, \u003cem>Gringo\u003c/em> taps into its only genuine vein of suspense: Oyelowo is a fed-up, still-mostly-good man trying desperately to break bad, while Copley is a reformed killer trying to get his new leaf to stick. Whose principles shall prevail?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question of whether good or bad behavior can be transmitted by example is a truly inexhaustible one that has powered enduring works of art and forgettable diversions alike. \u003cem>Gringo\u003c/em> is the latter, a passable in-flight movie that limps home across the border with nothing much to declare. \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=A+Good+Man%27s+Moral+Compass+Points+South-Of-The-Border+In+%27Gringo%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Did \u003ci>The Shape of Water\u003c/i> rekindle your cinematic interest in things not quite human, not quite animal — or perhaps awaken new desires? If so, take heed: the second annual \u003ca href=\"https://www.bigfootbonanza.com/\" rel=\"noopener\" target=\"_blank\">Bigfoot Bonanza\u003c/a>, a conference and film festival at San Francisco’s Vogue Theatre, is just days away. \u003c/p>\n\u003cp>On March 10 and 11, two jam-packed days of cult classic bigfoot and yeti flicks screen alongside documentaries and guest speakers like cryptozoologist \u003ca href=\"http://lorencoleman.com/\" rel=\"noopener\" target=\"_blank\">Loren Coleman\u003c/a>. (Coleman defines cryptozoology as the “study of hidden animals”; Wikipedia defines it as a pseudoscience.)\u003c/p>\n\u003cp>Titles include films like \u003ci>The Legend of Boggy Creek\u003c/i>, \u003ci>The Abominable Snow Rabbit\u003c/i> (animated!) and \u003ci>Man Beast\u003c/i>. \u003c/p>\n\u003cp>Closing out the fest is the 1977 Italian monster film \u003ci>Yeti: Giant of the 20th Century\u003c/i>, directed by Gianfranco Parolini and described by \u003ca href=\"https://horrorpedia.com/2013/01/30/yeti-the-giant-of-the-20th-century-1977-italian-film-review/\" rel=\"noopener\" target=\"_blank\">one reviewer\u003c/a> as “challengingly budgeted,” but “terrific fun.” Not only is the ancient yeti recently thawed out, he’s enormous, kind of like someone watched Dino De Laurentiis’ 1976 \u003ci>King Kong\u003c/i> and decided to rip it off with a disco-tinged soundtrack.\u003c/p>\n\u003cp>https://youtu.be/97FAle0F1jE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Interest piqued? As organizer Kai Wada Roath says, “AwoooOOOooogaH!”\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>Bigfoot Bonanza takes place March 10 and 11 at the Vogue Theatre in San Francisco (3290 Sacramento St). For tickets and more information, \u003ca href=\"https://www.bigfootbonanza.com/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did \u003ci>The Shape of Water\u003c/i> rekindle your cinematic interest in things not quite human, not quite animal — or perhaps awaken new desires? If so, take heed: the second annual \u003ca href=\"https://www.bigfootbonanza.com/\" rel=\"noopener\" target=\"_blank\">Bigfoot Bonanza\u003c/a>, a conference and film festival at San Francisco’s Vogue Theatre, is just days away. \u003c/p>\n\u003cp>On March 10 and 11, two jam-packed days of cult classic bigfoot and yeti flicks screen alongside documentaries and guest speakers like cryptozoologist \u003ca href=\"http://lorencoleman.com/\" rel=\"noopener\" target=\"_blank\">Loren Coleman\u003c/a>. (Coleman defines cryptozoology as the “study of hidden animals”; Wikipedia defines it as a pseudoscience.)\u003c/p>\n\u003cp>Titles include films like \u003ci>The Legend of Boggy Creek\u003c/i>, \u003ci>The Abominable Snow Rabbit\u003c/i> (animated!) and \u003ci>Man Beast\u003c/i>. \u003c/p>\n\u003cp>Closing out the fest is the 1977 Italian monster film \u003ci>Yeti: Giant of the 20th Century\u003c/i>, directed by Gianfranco Parolini and described by \u003ca href=\"https://horrorpedia.com/2013/01/30/yeti-the-giant-of-the-20th-century-1977-italian-film-review/\" rel=\"noopener\" target=\"_blank\">one reviewer\u003c/a> as “challengingly budgeted,” but “terrific fun.” Not only is the ancient yeti recently thawed out, he’s enormous, kind of like someone watched Dino De Laurentiis’ 1976 \u003ci>King Kong\u003c/i> and decided to rip it off with a disco-tinged soundtrack.\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/97FAle0F1jE'\n title='//www.youtube.com/embed/97FAle0F1jE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Interest piqued? As organizer Kai Wada Roath says, “AwoooOOOooogaH!”\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>Bigfoot Bonanza takes place March 10 and 11 at the Vogue Theatre in San Francisco (3290 Sacramento St). For tickets and more information, \u003ca href=\"https://www.bigfootbonanza.com/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The hotly anticipated feature by musician and now-filmmaker Boots Riley, \u003ci>Sorry to Bother You\u003c/i> — \u003ca href=\"https://www.kqed.org/arts/13747358/danny-glover-patton-oswalt-join-boots-riley-film-in-oakland\" rel=\"noopener\" target=\"_blank\">seen filming around Oakland last summer\u003c/a> — makes its Bay Area debut on April 12 as the Centerpiece event this year’s San Francisco International Film Festival. \u003c/p>\n\u003cp>Scooped up at Sundance by \u003ca href=\"http://variety.com/2018/film/news/sundance-sorry-to-bother-you-annapurna-1202677125/\" rel=\"noopener\" target=\"_blank\">Annapurna Pictures\u003c/a> with the memorable statement, “We f**king love this movie,” the film stars Lakeith Stanfield (\u003cem>Get Out\u003c/em>), Tessa Thompson (\u003cem>Thor: Ragnarok\u003c/em>) and Armie Hammer (\u003cem>Call Me By Your Name\u003c/em>). \u003c/p>\n\u003cp>Based partially on Riley’s experience of working as a telemarketer, \u003ci>Sorry to Bother You\u003c/i> takes place in an alternate reality of present-day Oakland. A black telemarketer (Stanfield) discovers a magical key to professional success — to make his voice sound “white.” Blurring genre lines between comedy, sci-fi and magic realism, the film also features a species of genetically manipulated horse-people named the “Equisapiens.” Expect social satire touching on greed, capitalism and racial dynamics, and plenty of recognizable landmarks. \u003c/p>\n\u003cp>The film screens on Thursday, April 12, at San Francisco’s Castro Theatre at 6:30pm, and the same night at Oakland’s Grand Lake Theatre at 8pm. Riley and cast members (no news on which ones yet) are expected to participate in intros and Q&As.\u003c/p>\n\u003cp>Tickets to \u003cem>Centerpiece: Sorry to Bother You\u003c/em> are $20 for SFFILM members (\u003ca href=\"https://www.sffilm.org/screenings-and-events/sorry-to-bother-you\" rel=\"noopener\" target=\"_blank\">on sale now\u003c/a>) and $25 for the general public (on sale starting Friday, March 9, at 10am).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cp>The effort by a group of investors to buy the Weinstein Co., founded by the disgraced Hollywood mogul Harvey Weinstein, has ended.\u003c/p>\n\u003cp>The collapse of the deal was confirmed in a statement issued Tuesday by Maria Contreras-Sweet, a former Obama administration official.\u003c/p>\n\u003cblockquote>\n\u003cp>“All of us have worked in earnest on the transaction to purchase the assets of The Weinstein Company. However, after signing and entering into the confirmatory diligence phase, we have received disappointing information about the viability of completing this transaction.\u003c/p>\n\u003cp>“As a result, we have decided to terminate this transaction.”\u003c/p>\n\u003c/blockquote>\n\u003cp>A source familiar with the deal told NPR that the “disappointing information” was the revelation of another $50 million-plus of debt, in addition to that previously known by the investors. Another source close to the negotiations said it was a combination of the new information and the worry that more debt could be uncovered later that killed the deal.\u003c/p>\n\u003cp>Contreras-Sweet had headed the Small Business Administration under President Barack Obama. She led a group of investors backed by billionaire Ron Burkle.\u003c/p>\n\u003cp>As the Two-Way \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/01/590091949/investor-group-has-deal-to-buy-weinstein-co-start-new-movie-studio\">reported\u003c/a>, the investor group had hoped to salvage the New York-based Weinstein Co. after it announced in late February that it would file for bankruptcy in the wake of a storm of allegations of sexual misconduct, including rape, against Harvey Weinstein.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company also was hit by a civil rights lawsuit filed by New York Attorney General Eric Schneiderman alleging that it broke state laws against sexual harassment and discrimination.\u003c/p>\n\u003cp>“We’ll be disappointed if the parties cannot work out their differences and close the deal. Our lawsuit against the Weinstein Company, Bob Weinstein, and Harvey Weinstein remains active and our investigation is ongoing,” said Schneiderman’s press secretary Amy Spitalnick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Contreras-Sweet thanked Schneiderman, Burkle and other investors involved in the now-collapsed deal. She also left open the possibility of pursuing company assets in bankruptcy proceedings.\u003c/p>\n\u003cblockquote>\n\u003cp>“I believe that our vision to create a women-led film studio is still the correct course of action. To that end, we will consider acquiring assets that may become available in the event of bankruptcy proceedings, as well as other opportunities that may become available in the entertainment industry.\u003c/p>\n\u003cp>“I remain committed to working to advance women’s business ownership in all sectors and to inspire girls to envision their futures as leaders of important companies.”\u003c/p>\n\u003c/blockquote>\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=Deal+To+Take+Over+The+Weinstein+Co.+Falls+Through&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The powerhouse ratings grabber that is the Oscars telecast dropped to record low viewership this year, falling nearly 20 percent from 2017. It’s the fourth consecutive year that viewership has declined.\u003c/p>\n\u003cp>Usually tied to the success of blockbuster movie hits, normally no fewer than 30 million people tune in on the big night to see the outcome of movie nominees. But this year just 26.5 million people watched, according to Nielsen records — which is even fewer than this year’s Winter Olympics opening ceremony in Pyeongchang, which drew 27.8 million viewers.\u003c/p>\n\u003cp>Box office numbers for nominated films have often signaled how ratings on the big night will fare, per The Associated Press:\u003c/p>\n\u003cblockquote>\n\u003cp>“The previous low-water mark for the Oscars came in 2008, when ‘No Country For Old Men’ won best picture.\u003c/p>\n\u003cp>Only four years ago the Oscar reached nearly 44 million viewers. The biggest Academy Awards audience on record came in 1998, when the blockbuster ‘Titanic’ was named best picture.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Acute political statements from celebrities also took center stage at this year’s 90th Academy Awards. Conservative media didn’t hesitate to link the low ratings to the powerful messages from social advocates.\u003c/p>\n\u003cp>\u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2018/03/05/the-anti-trump-oscars-were-a-ratings-disaster-conservatives-are-delighted/?utm_term=.5a70664b3381\">The Washington Post highlighted\u003c/a> sentiments perceived as “anti-Trump”:\u003c/p>\n\u003cblockquote>\n\u003cp>“On Monday, the awards show’s low ratings were a hot topic on Fox News, discussed at the top of the hour on both Tucker Carlson’s and Sean Hannity’s evening shows. Piers Morgan’s column for ‘The Daily Mail’ was \u003ca href=\"http://www.dailymail.co.uk/news/article-5465085/PIERS-MORGAN-10-point-plan-save-Oscars.html\">a 10-point plan to save the Oscars\u003c/a>. A headline \u003ca href=\"http://dailycaller.com/2018/03/05/oscars-ratings-all-time-low/\">on The Daily Caller’s website\u003c/a> read, ‘The Ratings For Jimmy Kimmel’s Trump Hate-Fest Oscars Crater Towards All-Time Low.’ And \u003ca href=\"http://www.breitbart.com/big-hollywood/2018/03/05/collapse-oscar-ratings-crash-double-digits/\">John Nolte of Breitbart News\u003c/a> said the ‘writing was on the wall for this ratings catastrophe,’ calling Kimmel one of the most ‘divisive and polarizing figures in the country’ and a ‘Trump-hating Democrat.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>On Tuesday, President Trump echoed the sentiments of conservatives in a morning tweet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/realDonaldTrump/status/971013841395027968\u003c/p>\n\u003cp>The Oscars are also facing competition with streaming video, a recent challenge incurred by all major television events, according to the \u003cem>Los Angeles Times.\u003c/em> Viewing habits are changing as well, and “younger viewers are also showing a tendency to watch highlights of major TV events on social media platforms rather than watch a program in real time on television.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Nielsen, which has been registering ratings for the The Academy Awards since 1974, the Oscars still bests other awards shows, such as The Golden Globes which “reached 19 million viewers in January and the Grammys [with] an audience of 19.8 million.” \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=Oscars+TV+Ratings+Fall%2C+Again+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It may be Hollywood's biggest night, but fewer people chose to watch the 90th Academy Awards on Sunday. It's the fourth consecutive year viewership has declined as Oscars lose luster to Web rivals.",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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