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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Louis C.K. has been accused of sexual misconduct toward several women, including masturbating in front of them to their horror and embarrassment, according to a report in The New York Times.\u003c/p>\n\u003cp>Five women — including comedians Dana Min Goodman, Abby Schachner, Julia Wolov, Rebecca Corry — allege the Emmy-winning star of FX’s \u003cem>Louie\u003c/em> either pleasured himself in front of them, asked to do it or did so over the phone. A fifth woman detailed her allegations against C.K. to the paper but was not identified.\u003c/p>\n\u003cp>A publicist for C.K. did not immediately respond to comment from The Associated Press. Another publicist told the Times the comedian would not respond to their reporting.\u003c/p>\n\u003cp>Corry alleges the comedian, while she was working on a TV pilot in 2005, asked “if we could go to my dressing room so he could masturbate in front of me.” She declined “and he told me he had issues.” The show’s executive producers, Courteney Cox and David Arquette confirmed Corry’s account to the Times. Cindy Guagenti, Arquette’s representative, told The AP her client had nothing more to add.\u003c/p>\n\u003cp>In anticipation of the report, the New York premiere of Louis C.K.’s controversial new film \u003cem>I Love You, Daddy\u003c/em> was canceled on Thursday night and C.K.’s scheduled Friday appearance on \u003cem>The Late Show With Stephen Colbert\u003c/em> also has been scrapped. The small distribution company handling the release of \u003cem>I Love You Daddy\u003c/em> said it is reviewing the situation and giving careful consideration to the timing and release of the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>C.K. is among the latest Hollywood figures to be accused of misconduct in a wave that began when dozens of sexual harassment allegations were reported last month against film mogul Harvey Weinstein.\u003c/p>\n\u003cp>Known for his candid, warts-and-all personal humor, which often includes bodily fluids and sex, C.K. grew up outside Boston. He performed stand-up sets in New York and eventually landed writing gig on Conan O’Brien’s \u003cem>Late Night\u003c/em> and David Letterman’s \u003cem>Late Show\u003c/em>.\u003c/p>\n\u003cp>He went on to become the head writer of \u003cem>The Dana Carvey Show\u003c/em> from 1995-96 and contributed to the animated \u003cem>TV Funhouse\u003c/em> vignettes on \u003cem>Saturday Night Live\u003c/em>.\u003c/p>\n\u003cp>He was a writer on \u003cem>The Chris Rock Show\u003c/em> and voiced patients on the Comedy Central’s \u003cem>Dr. Katz, Professional Therapist\u003c/em>. He also wrote and directed the film \u003cem>Pootie Tang\u003c/em> with Rock, an infamous bomb.\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/Vw-TUJTlTmo'\n title='//www.youtube.com/embed/Vw-TUJTlTmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a 2014 episode of his FX series \u003cem>Louie\u003c/em>, the title character played by C.K. pushes himself on a longtime friend and sometime flame, Pamela. She’s played by actress-writer Pamela Adlon of \u003cem>Better Things\u003c/em>.\u003c/p>\n\u003cp>In the scene, Pamela rebuffs his efforts to pull her into his bedroom as he paws at her. “This would be rape if you weren’t so stupid. My God, you can’t even rape well,” she says.\u003c/p>\n\u003cp>C.K.’s comedy writing and production tentacles spread throughout TV and film. He’s credited as a creator of the Zach Galifianakis show \u003cem>Baskets\u003c/em>, in its third season on FX, and of Pamela Adlon’s show \u003cem>Better Things\u003c/em>, now in its second season on FX. He is also developing another series for FX called \u003cem>The Cops\u003c/em> in which he’s set to star opposite Albert Brooks. C.K. is an executive producer of comedian Tig Notaro’s Amazon series, \u003cem>One Mississippi\u003c/em>. He starred in a Netflix special earlier this year that was nominated for two Emmy Awards.\u003c/p>\n\u003cp>His new film, \u003cem>I Love You, Daddy\u003c/em>, had its premiere this summer at the Toronto International Film Festival. C.K., who co-starred in Woody Allen’s \u003cem>Blue Jasmine\u003c/em>, said he and co-writer Vernon Chatman wanted to make a movie about beloved artists who are trailed by murmurs of scandal.\u003c/p>\n\u003cp>Some also see the black-and-white 35mm film as C.K.’s response to his own controversies. Allegations of questionable sexual behavior long have dogged C.K. and Roseanne Barr has said there are “multiple accusations” and Notaro advised C.K. to “handle” the rumors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the film, C.K. plays a successful TV producer whose 17-year-old daughter begins a relationship with an older director. It spawns a kind of crisis for C.K.’s character, who has his own issues with how he treats women.\u003cbr>\n___\u003cbr>\nTV Writer Lynn Elber, Entertainment Writer Sandy Cohen and AP Film Writer Lindsey Bahr in Los Angeles contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Spacey Cut From Film; Scenes to be Re-Shot with Christopher Plummer",
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"content": "\u003cp>Actor Kevin Spacey — one of the big-name Hollywood figures caught in a recent wave of accusations of sexual abuse – is reportedly being cut from an already finished film and his scenes re-shot with another actor. The move has been described as unprecedented.\u003c/p>\n\u003cp>Spacey had completed filming in the role of oil tycoon J. Paul Getty for Ridley Scott’s \u003cem>All the Money in the World\u003c/em>, set for release on Dec. 22. Scott will re-shoot Spacey’s scenes with the older actor Christopher Plummer, and the director expects to still make the release date. \u003ca href=\"https://www.nytimes.com/2017/11/08/arts/kevin-spacey-all-the-money-in-the-world.html?_r=0\">The New York Times\u003c/a> says spokesmen for Sony and the director have confirmed the swap.\u003c/p>\n\u003cp>The Associated Press reports: “All of Spacey’s scenes will be reshot,” people close to the production told the AP. “Co-stars Mark Wahlberg and Michelle Williams are expected to participate.”\u003c/p>\n\u003cp>Initially, Scott wanted to cast Plummer in the role but was pressured by the studio to bring on a bigger name, according to the news agency.\u003c/p>\n\u003cp>Last week, the accusations against Spacey prompted Netflix to \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/04/562035100/netflix-dumps-kevin-spacey-from-house-of-cards-amid-harassment-complaints\" target=\"_blank\" rel=\"noopener\">end production\u003c/a> of its popular political drama \u003cem>House of Cards\u003c/em>, which features the actor as a ruthlessly ambitious politician. The Netflix news came just days after 46-year-old actor Anthony Rapp — who plays in the new \u003cem>Star Trek: Discovery\u003c/em> series on CBS — \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14?utm_term=.dyY8znBam#.piqAojGdJ\" target=\"_blank\" rel=\"noopener\">told Buzzfeed\u003c/a> that when he was 14 and Spacey 26, the elder actor made a sexual advance on him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even before Rapp’s accusation, Boston television news anchor Heather Unruh tweeted that Spacey had groped her son’s genitals at a restaurant in Nantucket last year.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/30/560779174/kevin-spacey-apologizes-to-anthony-rapp-over-alleged-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">NPR’s Bill Chappell reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Spacey has apologized; he also says he can’t remember the incident. Spacey is also being criticized for using his statement of contrition as a platform for coming out as a gay man.\u003c/p>\n\u003cp>… In a much-debated pivot, Spacey … devoted the second (and longer) half of his statement to say that Rapp’s story ‘has encouraged me to address other things about my life.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>Since then, others – both men and women — have come forward with similar accusations against Spacey.\u003c/p>\n\u003cp>The actor is one of several film and television figures to have had accusations of sexual misconduct leveled against them in the wake of the \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein scandal\u003c/a> that broke last month. Weinstein denies the charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However, the accusations go wider, with NPR’s Vice President for News Michael Oreskes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\" target=\"_blank\" rel=\"noopener\">being forced to resign\u003c/a> over accusations of inappropriate behavior toward subordinates, both at NPR and when he worked for previous employers. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Spacey+Cut+From+Film%3B+Scenes+To+Be+Re-Shot+With+Actor+Christopher+Plummer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Kevin Spacey — one of the big-name Hollywood figures caught in a recent wave of accusations of sexual abuse – is reportedly being cut from an already finished film and his scenes re-shot with another actor. The move has been described as unprecedented.\u003c/p>\n\u003cp>Spacey had completed filming in the role of oil tycoon J. Paul Getty for Ridley Scott’s \u003cem>All the Money in the World\u003c/em>, set for release on Dec. 22. Scott will re-shoot Spacey’s scenes with the older actor Christopher Plummer, and the director expects to still make the release date. \u003ca href=\"https://www.nytimes.com/2017/11/08/arts/kevin-spacey-all-the-money-in-the-world.html?_r=0\">The New York Times\u003c/a> says spokesmen for Sony and the director have confirmed the swap.\u003c/p>\n\u003cp>The Associated Press reports: “All of Spacey’s scenes will be reshot,” people close to the production told the AP. “Co-stars Mark Wahlberg and Michelle Williams are expected to participate.”\u003c/p>\n\u003cp>Initially, Scott wanted to cast Plummer in the role but was pressured by the studio to bring on a bigger name, according to the news agency.\u003c/p>\n\u003cp>Last week, the accusations against Spacey prompted Netflix to \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/04/562035100/netflix-dumps-kevin-spacey-from-house-of-cards-amid-harassment-complaints\" target=\"_blank\" rel=\"noopener\">end production\u003c/a> of its popular political drama \u003cem>House of Cards\u003c/em>, which features the actor as a ruthlessly ambitious politician. The Netflix news came just days after 46-year-old actor Anthony Rapp — who plays in the new \u003cem>Star Trek: Discovery\u003c/em> series on CBS — \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14?utm_term=.dyY8znBam#.piqAojGdJ\" target=\"_blank\" rel=\"noopener\">told Buzzfeed\u003c/a> that when he was 14 and Spacey 26, the elder actor made a sexual advance on him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even before Rapp’s accusation, Boston television news anchor Heather Unruh tweeted that Spacey had groped her son’s genitals at a restaurant in Nantucket last year.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/30/560779174/kevin-spacey-apologizes-to-anthony-rapp-over-alleged-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">NPR’s Bill Chappell reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Spacey has apologized; he also says he can’t remember the incident. Spacey is also being criticized for using his statement of contrition as a platform for coming out as a gay man.\u003c/p>\n\u003cp>… In a much-debated pivot, Spacey … devoted the second (and longer) half of his statement to say that Rapp’s story ‘has encouraged me to address other things about my life.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>Since then, others – both men and women — have come forward with similar accusations against Spacey.\u003c/p>\n\u003cp>The actor is one of several film and television figures to have had accusations of sexual misconduct leveled against them in the wake of the \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein scandal\u003c/a> that broke last month. Weinstein denies the charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However, the accusations go wider, with NPR’s Vice President for News Michael Oreskes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\" target=\"_blank\" rel=\"noopener\">being forced to resign\u003c/a> over accusations of inappropriate behavior toward subordinates, both at NPR and when he worked for previous employers. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Spacey+Cut+From+Film%3B+Scenes+To+Be+Re-Shot+With+Actor+Christopher+Plummer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Bollywood and Beyond at 3rd i Film Festival",
"headTitle": "Now Playing! Bollywood and Beyond at 3rd i Film Festival | KQED",
"content": "\u003cp>Fall is film festival season, if you hadn’t noticed. Indeed, this weekend is so loaded with explosive sound and images that it resembles the climactic (and overwhelming) barrage of a fireworks show. If you can’t find something to suit your taste, friend, you just don’t like movies. Film buffs, for their part, are in worse straits, fretting over how to possibly catch every movie they want — excuse me, need — to see.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.aifisf.com\" rel=\"noopener\" target=\"_blank\">American Indian Film Festival\u003c/a> is already in full swing, and continues through Saturday, Nov. 11 at the Brava Theater Center in the Mission. \u003ca href=\"http://newitaliancinema.org/2017/\" rel=\"noopener\" target=\"_blank\">New Italian Cinema\u003c/a> unspools Nov. 8-12 at the Castro (opening night) and the Vogue, while \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/asc/enindex.htm\" rel=\"noopener\" target=\"_blank\">Berlin & Beyond Autumn Showcase\u003c/a> screens Nov. 9 at the Roxie and Nov. 10-11 at the Goethe-Institut. Joining the party is the first annual \u003ca href=\"https://cinematografofilmfestival.com\" rel=\"noopener\" target=\"_blank\">Cinematografo International Film Festival\u003c/a>, spotlighting Filipino and Filipino-American filmmakers Nov. 9-12 at the AMC Dine-In Kabuki.\u003c/p>\n\u003cfigure id=\"attachment_13813815\" class=\"wp-caption aligncenter\" style=\"max-width: 959px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Abu-Animation1.jpg\" alt=\"Still from 'Abu,' screening at this year's 3rd i International South Asian Film Festival.\" width=\"959\" height=\"536\" class=\"size-full wp-image-13813815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1.jpg 959w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-520x291.jpg 520w\" sizes=\"(max-width: 959px) 100vw, 959px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Abu,’ screening at this year’s 3rd i International South Asian Film Festival. \u003ccite>(Courtesy of Larsen Associates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s not all. The \u003ca href=\"https://www.thirdi.org\" rel=\"noopener\" target=\"_blank\">3rd i International South Asian Film Festival\u003c/a> turns 15 Nov. 9, 10 and 12 at the New People Cinema, Nov. 11 at the Castro and Nov. 18 at the CineArts in Palo Alto. Filmmaker Arshad Kahn raises the curtain with his first-person documentary, \u003cem>\u003ca href=\"https://www.thirdi.org/event/abu-father/\" rel=\"noopener\" target=\"_blank\">Abu\u003c/a>\u003c/em> (\u003cem>Father\u003c/em>), a rich reminiscence of growing up gay in Pakistan and Canada that was a hit at this year’s Frameline festival. The wildly talented composer and double violinist Gingger Shankar also mines family history — the pioneering musical contributions of her mother and grandmother — in a live multimedia performance of her Sundance sensation, \u003cem>\u003ca href=\"https://www.thirdi.org/event/nari-woman/\" rel=\"noopener\" target=\"_blank\">Nari: The Unsung Story of the Women from India’s First Family of Music\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>The revival of a Bollywood smash is a 3rd i tradition, and a darn popular one. This year’s rocker-rafter is \u003cem>\u003ca href=\"https://www.thirdi.org/event/om-shanti-om/\" rel=\"noopener\" target=\"_blank\">Om Shanti Om\u003c/a>\u003c/em> (Nov. 11) on its 10th anniversary, starring the irrepressible (and mighty handsome) Shah Rukh Khan. Bring your dancing shoes — and, if you’re racing to or from another festival, wear your running shoes.\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>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is film festival season, if you hadn’t noticed. Indeed, this weekend is so loaded with explosive sound and images that it resembles the climactic (and overwhelming) barrage of a fireworks show. If you can’t find something to suit your taste, friend, you just don’t like movies. Film buffs, for their part, are in worse straits, fretting over how to possibly catch every movie they want — excuse me, need — to see.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.aifisf.com\" rel=\"noopener\" target=\"_blank\">American Indian Film Festival\u003c/a> is already in full swing, and continues through Saturday, Nov. 11 at the Brava Theater Center in the Mission. \u003ca href=\"http://newitaliancinema.org/2017/\" rel=\"noopener\" target=\"_blank\">New Italian Cinema\u003c/a> unspools Nov. 8-12 at the Castro (opening night) and the Vogue, while \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/asc/enindex.htm\" rel=\"noopener\" target=\"_blank\">Berlin & Beyond Autumn Showcase\u003c/a> screens Nov. 9 at the Roxie and Nov. 10-11 at the Goethe-Institut. Joining the party is the first annual \u003ca href=\"https://cinematografofilmfestival.com\" rel=\"noopener\" target=\"_blank\">Cinematografo International Film Festival\u003c/a>, spotlighting Filipino and Filipino-American filmmakers Nov. 9-12 at the AMC Dine-In Kabuki.\u003c/p>\n\u003cfigure id=\"attachment_13813815\" class=\"wp-caption aligncenter\" style=\"max-width: 959px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Abu-Animation1.jpg\" alt=\"Still from 'Abu,' screening at this year's 3rd i International South Asian Film Festival.\" width=\"959\" height=\"536\" class=\"size-full wp-image-13813815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1.jpg 959w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Abu-Animation1-520x291.jpg 520w\" sizes=\"(max-width: 959px) 100vw, 959px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Abu,’ screening at this year’s 3rd i International South Asian Film Festival. \u003ccite>(Courtesy of Larsen Associates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s not all. The \u003ca href=\"https://www.thirdi.org\" rel=\"noopener\" target=\"_blank\">3rd i International South Asian Film Festival\u003c/a> turns 15 Nov. 9, 10 and 12 at the New People Cinema, Nov. 11 at the Castro and Nov. 18 at the CineArts in Palo Alto. Filmmaker Arshad Kahn raises the curtain with his first-person documentary, \u003cem>\u003ca href=\"https://www.thirdi.org/event/abu-father/\" rel=\"noopener\" target=\"_blank\">Abu\u003c/a>\u003c/em> (\u003cem>Father\u003c/em>), a rich reminiscence of growing up gay in Pakistan and Canada that was a hit at this year’s Frameline festival. The wildly talented composer and double violinist Gingger Shankar also mines family history — the pioneering musical contributions of her mother and grandmother — in a live multimedia performance of her Sundance sensation, \u003cem>\u003ca href=\"https://www.thirdi.org/event/nari-woman/\" rel=\"noopener\" target=\"_blank\">Nari: The Unsung Story of the Women from India’s First Family of Music\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>The revival of a Bollywood smash is a 3rd i tradition, and a darn popular one. This year’s rocker-rafter is \u003cem>\u003ca href=\"https://www.thirdi.org/event/om-shanti-om/\" rel=\"noopener\" target=\"_blank\">Om Shanti Om\u003c/a>\u003c/em> (Nov. 11) on its 10th anniversary, starring the irrepressible (and mighty handsome) Shah Rukh Khan. Bring your dancing shoes — and, if you’re racing to or from another festival, wear your running shoes.\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>\u003c/div>",
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"title": "In The Deft, Insightful 'Lady Bird,' A Girl Grows Up — And Grows Wiser",
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"content": "\u003cp>The title of Greta Gerwig’s semi-autobiographical \u003cem>Lady Bird\u003c/em> refers to the name— not the nickname, the \u003cem>name \u003c/em>— a mildly rebellious senior gives to herself, part of the comprehensive array of quirks meant to separate her from the pleated drones of an all-girls Catholic high school. She insists that everyone call her “Lady Bird,” including her parents, who grudgingly oblige, though they prefer the name they gave her, Christine, and it stings a little to see it rejected so casually. They put up with it because they know it’s a phase she’ll eventually outgrow — yet it’s also a phase that lasts the longest in children, who have trouble seeing beyond their own needs and feelings, whether they’re toddlers refusing to share their toys or adolescents who slouch into resentment and self-absorption.\u003c/p>\n\u003cp>\u003cem>Lady Bird\u003c/em> recalls coming-of-age films like \u003cem>Pretty in Pink\u003c/em> or \u003cem>The Slums of Beverly Hills\u003c/em>, in that it’s about a teenage girl growing up with fewer advantages than their peers, who don’t think twice about their limitless credit cards or the luxury cars they’re entitled to own on their 16th birthday. What separates it from its predecessors, beyond the wondrous particulars of Gerwig’s observations, is that the film is about achieving a specific form of enlightenment, when a young person finally gains insight into the lives of those closest to her. It may be about the selfishness and growing pains of its confused and embattled heroine, but it’s made from the perspective of an artist who sees the world more clearly now than she did then.\u003c/p>\n\u003cp>Two outside-the-box casting choices make a big difference, starting with the Irish actress Saoirse Ronan stepping confidently into the role of Gerwig’s surrogate, an outcast who so resents her life in early 2000s Sacramento that she’s dead set on heading to an elite East Coast college after graduation. (Never mind that she stinks at math. She’s the type of student to whom teachers hand tests back face-down.) Laurie Metcalf is equally revelatory as her mother Marion, who works double-shifts just to afford tuition at Lady Bird’s current school and has to play the budget-minded taskmaster who forces her to wear thrift clothes and haggles over the grocery bill. Lady Bird’s father (Tracy Letts) is a pushover but his Cool Dad routine masks the anxiety and depression of a man barely making ends meet.\u003c/p>\n\u003cp>As the school year marches on, Lady Bird gets involved in the theater program, falls into relationships with two boyfriends (Lucas Hedges and Timothée Chalamet) who are wrong for her in vastly different ways, goes status-seeking with the popular kids, and generally makes a mess of things at home. None of these developments are unfamiliar to coming-of-age dramas and comedies past, but \u003cem>Lady Bird\u003c/em> thrives on the accumulation of memories that Gerwig has cataloged and reproduced with such exuberance, insight, and feeling. Vivid little moments keep piling up: Mother and daughter crying together over the book-on-tape version of \u003cem>The Grapes of Wrath\u003c/em>, then immediately fighting for control of the radio; gifts like socks and novelty pillows on a lean Christmas morning; or a tacky Dave Matthews ballad that gains in resonance.\u003c/p>\n\u003cp>Gerwig previously cataloged her young adulthood in the excellent \u003cem>Frances Ha\u003c/em>, which she co-wrote with her partner, Noah Baumbach, and starred in as a 27-year-old dancer trying to find direction and stability in New York City. \u003cem>Lady Bird\u003c/em> could be considered a spiritual prequel to \u003cem>Frances Ha\u003c/em>, but having Gerwig behind the camera make a difference, in that the film is not an affectionate tribute to her, but an unmediated reflection on her formative years. Gerwig isn’t a particularly showy director — though she makes the big moments count — but her one devastatingly effective touch is to sketch the film through deft little mini-montages that capture the essence of a location or a situation without dwelling for too long. It’s like she has a notebook full of vivid anecdotes to share and a larger picture emerges from them, like pointillist filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its heart, though, \u003cem>Lady Bird\u003c/em> is about feeling the tug of home and finally being able to articulate how much it means. Early in the film, one of the nuns responds to one of Lady Bird’s short stories by saying that she obviously loves Sacramento, which doesn’t seem to sync with the litany of complaint she registers about it. The nun likens the “attention” she pays to the city to love, which turns into a prevailing metaphor for the whole film. Based on the evidence, Gerwig didn’t miss anything. Only now she views it from a wiser and more empathetic lens.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=In+The+Deft%2C+Insightful+%27Lady+Bird%2C%27+A+Girl+Grows+Up+%E2%80%94+And+Grows+Wiser+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of Greta Gerwig’s semi-autobiographical \u003cem>Lady Bird\u003c/em> refers to the name— not the nickname, the \u003cem>name \u003c/em>— a mildly rebellious senior gives to herself, part of the comprehensive array of quirks meant to separate her from the pleated drones of an all-girls Catholic high school. She insists that everyone call her “Lady Bird,” including her parents, who grudgingly oblige, though they prefer the name they gave her, Christine, and it stings a little to see it rejected so casually. They put up with it because they know it’s a phase she’ll eventually outgrow — yet it’s also a phase that lasts the longest in children, who have trouble seeing beyond their own needs and feelings, whether they’re toddlers refusing to share their toys or adolescents who slouch into resentment and self-absorption.\u003c/p>\n\u003cp>\u003cem>Lady Bird\u003c/em> recalls coming-of-age films like \u003cem>Pretty in Pink\u003c/em> or \u003cem>The Slums of Beverly Hills\u003c/em>, in that it’s about a teenage girl growing up with fewer advantages than their peers, who don’t think twice about their limitless credit cards or the luxury cars they’re entitled to own on their 16th birthday. What separates it from its predecessors, beyond the wondrous particulars of Gerwig’s observations, is that the film is about achieving a specific form of enlightenment, when a young person finally gains insight into the lives of those closest to her. It may be about the selfishness and growing pains of its confused and embattled heroine, but it’s made from the perspective of an artist who sees the world more clearly now than she did then.\u003c/p>\n\u003cp>Two outside-the-box casting choices make a big difference, starting with the Irish actress Saoirse Ronan stepping confidently into the role of Gerwig’s surrogate, an outcast who so resents her life in early 2000s Sacramento that she’s dead set on heading to an elite East Coast college after graduation. (Never mind that she stinks at math. She’s the type of student to whom teachers hand tests back face-down.) Laurie Metcalf is equally revelatory as her mother Marion, who works double-shifts just to afford tuition at Lady Bird’s current school and has to play the budget-minded taskmaster who forces her to wear thrift clothes and haggles over the grocery bill. Lady Bird’s father (Tracy Letts) is a pushover but his Cool Dad routine masks the anxiety and depression of a man barely making ends meet.\u003c/p>\n\u003cp>As the school year marches on, Lady Bird gets involved in the theater program, falls into relationships with two boyfriends (Lucas Hedges and Timothée Chalamet) who are wrong for her in vastly different ways, goes status-seeking with the popular kids, and generally makes a mess of things at home. None of these developments are unfamiliar to coming-of-age dramas and comedies past, but \u003cem>Lady Bird\u003c/em> thrives on the accumulation of memories that Gerwig has cataloged and reproduced with such exuberance, insight, and feeling. Vivid little moments keep piling up: Mother and daughter crying together over the book-on-tape version of \u003cem>The Grapes of Wrath\u003c/em>, then immediately fighting for control of the radio; gifts like socks and novelty pillows on a lean Christmas morning; or a tacky Dave Matthews ballad that gains in resonance.\u003c/p>\n\u003cp>Gerwig previously cataloged her young adulthood in the excellent \u003cem>Frances Ha\u003c/em>, which she co-wrote with her partner, Noah Baumbach, and starred in as a 27-year-old dancer trying to find direction and stability in New York City. \u003cem>Lady Bird\u003c/em> could be considered a spiritual prequel to \u003cem>Frances Ha\u003c/em>, but having Gerwig behind the camera make a difference, in that the film is not an affectionate tribute to her, but an unmediated reflection on her formative years. Gerwig isn’t a particularly showy director — though she makes the big moments count — but her one devastatingly effective touch is to sketch the film through deft little mini-montages that capture the essence of a location or a situation without dwelling for too long. It’s like she has a notebook full of vivid anecdotes to share and a larger picture emerges from them, like pointillist filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its heart, though, \u003cem>Lady Bird\u003c/em> is about feeling the tug of home and finally being able to articulate how much it means. Early in the film, one of the nuns responds to one of Lady Bird’s short stories by saying that she obviously loves Sacramento, which doesn’t seem to sync with the litany of complaint she registers about it. The nun likens the “attention” she pays to the city to love, which turns into a prevailing metaphor for the whole film. Based on the evidence, Gerwig didn’t miss anything. Only now she views it from a wiser and more empathetic lens.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=In+The+Deft%2C+Insightful+%27Lady+Bird%2C%27+A+Girl+Grows+Up+%E2%80%94+And+Grows+Wiser+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I talked to Stephen Parr, it felt like a test. I’d been referred to him as a lead to hard-to-find footage of the Velvet Underground while researching films for a book on the group. At our first meeting, Parr asked me whether it was true that noted avant-garde filmmaker/musician Tony Conrad had been an original member. I had to explain at some length that this wasn’t the case, though Conrad had indeed played with John Cale and Lou Reed before the Velvets formed. My explanation wasn’t enough for Parr, who proceeded to jab me with questions and make me justify myself. \u003c/p>\n\u003cp>Satisfied after several minutes that I did indeed know my Velvet Underground, he went to some lengths to help me view rare footage of the group through contacts at the Andy Warhol museum. Several years after that, he invited me to give a Velvet Underground film night of sorts at his small funky theater of sorts at the Oddball Films archive, near Capp and 18th Streets in the Mission. I presented several other screenings of rare rock films at Oddball over the past few years, and on multiple occasions I witnessed Stephen’s generally pessimistic view give way to fanboy enthusiasm when lights dimmed and the show got underway.\u003c/p>\n\u003cp>The last time I saw him this spring, he had no apparent physical problems, so it came as a shock to myself and the entire Bay Area film community when he died Oct. 24 at 63 years old. According to those close to him, Parr died from complications related to Parkinson’s disease.\u003c/p>\n\u003cp>https://vimeo.com/175884766\u003cbr>\n\u003c/p>\n\u003cp>For the past three decades or so, Parr ran Oddball Films and its massive archive that preserved the kind of footage most other film repositories overlook or even disdain. Educational shorts, industrial movies and early punk performances all found a home at Oddball. He even collected actual home movies, all obtained during “home movie days” when the originals would be given to the archive in exchange for higher-tech copies. Clients who licensed footage ranged from mainstream media corporations like ABC, HBO, and MTV to independent filmmakers struggling to complete their first feature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Steve was down with the underground. There were people approaching him that were advertising agencies, and he would charge them a good amount of money. There were other people who approached him who were, like, some independent filmmaker who lived in the Mission and didn’t really have any money, and he’d work with that,” said filmmaker Sam Green. \u003c/p>\n\u003cp>Green used some of Oddball’s footage in \u003cem>The Weather Underground\u003c/em>, his acclaimed documentary on radical activists the Weathermen. “Steve understood that there were artists were making art, and they didn’t necessarily have the budgets of the ad agencies,” he said. \u003c/p>\n\u003cp>And while Parr could be prickly while you were getting to know him, those who worked with Oddball stress that once he was convinced of the worthiness of your enterprise, he’d go to great lengths to help. \u003c/p>\n\u003cp>“It is a crazy thing to do, film collecting. And there are generally only dribs and drabs of revenue that come in. Without him handling my footage I never would have been able to get it out into the world like that,” director and LGBT film historian Jenni Olson said. Olson’s collection of vintage trailers and 16mm/35mm prints was stored, transferred, and licensed by Oddball.\u003c/p>\n\u003cfigure id=\"attachment_13813547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-800x600.jpg\" alt=\"Inside Oddball Films\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13813547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Oddball-Films-inside-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Oddball Films \u003ccite>(Jenni Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Thanks to Stephen and his colleagues at Oddball — especially Robert Chehoski — my footage was licensed for dozens of documentaries, including films like \u003ci>I Am Divine\u003c/i>, \u003ci>After Stonewall\u003c/i>, \u003ci>The Battle of AmFAR\u003c/i>, and \u003ci>Regarding Susan Sontag\u003c/i>.”\u003c/p>\n\u003cp>At Oddball, “you never knew what excitement was gonna get thrown at you” during a regular day, said Chehoski, who worked with Parr as Oddball’s project director for 13 years, beginning in 1998. Chehoski handled licensing and client requests — “the business stuff” as Chehoski called it — so Parr could concentrate on collecting.\u003c/p>\n\u003cp>“What made Stephen tick was collecting,” Chehoski said. “He was so skilled at obtaining that kind of stuff because he was relentless. He would literally haunt people until he got what he wanted.”\u003c/p>\n\u003cp>The thousands of reels of films at Oddball — stacked on dozens of shelves, rising dozens of feet high — formed aisles you walked through when attending Parr’s periodic screenings at the archive’s Capp Street headquarters. It was those same reels that Parr mined for the screenings at Oddball, which showcased the simultaneously eclectic and obscure. They ranged from new work by local filmmakers to vintage Asian-American rock performances.\u003c/p>\n\u003cfigure id=\"attachment_13813581\" class=\"wp-caption alignright\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg\" alt=\"A rare photo of Parr smiling on his birthday\" width=\"579\" height=\"872\" class=\"size-full wp-image-13813581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1.jpg 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-375x565.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Stephen-Parr-CAke-1-520x783.jpg 520w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A rare photo of Parr smiling on his birthday \u003ccite>(Robert Chehoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“His film screenings were the playful side of Stephen,” Chehoski said. \u003c/p>\n\u003cp>The Bay Area is blessed with several venues showing offbeat films, but arguably none could compare with Oddball what had to offer. And though plenty of Oddball’s films could send those with conservative tastes running for the hills, not everything Parr showed was sexy or shocking. For example, for one of my rare rock clip nights, he unearthed excerpts from the forgotten 1970 TV series \u003ci>Something Else,\u003c/i> which showed the singer Melanie and political folksinger Phil Ochs miming in impossibly industrial settings.\u003c/p>\n\u003cp>“Stephen had a great affection for the most unusual vintage films and footage — both obviously appealing campy things, but also materials that were deceptively mundane but deserved our attention,” Olson said.\u003c/p>\n\u003cp>Chehoski said it was when he showed those films that folks saw the best side of Parr.\u003c/p>\n\u003cp>“The first time I saw him onstage, talking about some films he was gonna show, he was so articulate and so well spoken, he just captivated everybody,” Chehoski said. “When he was in his element and it was something that he loved, he was incredible.”\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_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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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"content": "\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Napa Film Fest Goes on, Despite the Fires",
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"content": "\u003cp>Since 2009, Brenda and Marc Lhormer have built the four-day Napa Valley Film Festival with the offer of good times, good food, and good wine to filmmakers and actors, and a mission to present the very best independent films of the year. “We tell people, ‘Open at Sundance and finish the festival season at Napa,'” Brenda Lhormer tells me by phone. But this year, the North Bay fires hit just as festival preparations were kicking into high gear. \u003cspan style=\"font-weight: 400\">“All of us left town,” Lhormer says, “and some of our seasonal staff lost their homes, so there were two days of frantic texting.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13813351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13813351 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg\" alt=\"Courtesy of Napa Valley Film Festival\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Napa Valley Film Festival in 2016 \u003ccite>(Photo: Courtesy of Napa Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the smoke cleared, the staff gathered to decide whether to go ahead with the festival. “And we sat around the table, lots of tears in our eyes,” Lhormer said. “And we all went around the table one by one, and said, we think the community is going to need this more than ever. So then we took the next two days and emailed everyone, and every single one of our partners and venues were fine. And we took a big sigh, and we said, ‘We’ve got to do this.'”\u003c/p>\n\u003cp>Lhormer says there were lots of cancellations from out-of-town attendees, so the festival is depending on Bay Area residents to pick up the slack. Ten percent of all proceeds will go to fire relief, and the festival is donating 1,000 tickets to those who’ve lost their homes. \u003ca href=\"http://www.nvff.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2009, Brenda and Marc Lhormer have built the four-day Napa Valley Film Festival with the offer of good times, good food, and good wine to filmmakers and actors, and a mission to present the very best independent films of the year. “We tell people, ‘Open at Sundance and finish the festival season at Napa,'” Brenda Lhormer tells me by phone. But this year, the North Bay fires hit just as festival preparations were kicking into high gear. \u003cspan style=\"font-weight: 400\">“All of us left town,” Lhormer says, “and some of our seasonal staff lost their homes, so there were two days of frantic texting.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13813351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13813351 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg\" alt=\"Courtesy of Napa Valley Film Festival\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-1180x1769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-960x1439.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/31780340850_c3ea2f5d19_k.jpg 1366w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Napa Valley Film Festival in 2016 \u003ccite>(Photo: Courtesy of Napa Valley Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the smoke cleared, the staff gathered to decide whether to go ahead with the festival. “And we sat around the table, lots of tears in our eyes,” Lhormer said. “And we all went around the table one by one, and said, we think the community is going to need this more than ever. So then we took the next two days and emailed everyone, and every single one of our partners and venues were fine. And we took a big sigh, and we said, ‘We’ve got to do this.'”\u003c/p>\n\u003cp>Lhormer says there were lots of cancellations from out-of-town attendees, so the festival is depending on Bay Area residents to pick up the slack. Ten percent of all proceeds will go to fire relief, and the festival is donating 1,000 tickets to those who’ve lost their homes. \u003ca href=\"http://www.nvff.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "10-last-minute-movie-inspired-costume-ideas-for-halloween",
"title": "10 Last Minute Movie-Inspired Costume Ideas for Halloween",
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"content": "\u003cp>If you’ve been left scrambling to assemble a Halloween costume in the eleventh hour, consider using your movie knowledge to help you dress to impress. The \u003ca href=\"https://www.facebook.com/FilmSchoolShorts\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> team has curated ten costumes inspired by cinema, ranging from blockbuster hits to the indie arcane, in the hopes of inspiring your Halloween look.\u003c/p>\n\u003cfigure id=\"attachment_13812927\" class=\"wp-caption alignnone\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812927 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg\" alt=\"\" width=\"620\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-520x218.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">A Ghost Story (credit: A24)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. \u003ci>A Ghost Story\u003c/i>\u003c/h3>\n\u003cp>Not one to fret the details? Invest in some extra bedding and recreate a time-honored Halloween staple — the bed sheet ghost. The iconic look was used this year in a meditation on grief called \u003ca href=\"https://ww2.kqed.org/arts/2017/07/14/grief-hangs-around-at-home-in-a-ghost-story/\">\u003cem>A Ghost Story\u003c/em>\u003c/a> by David Lowery. All you need is a pair of scissors and a California King white bed sheet. Besides being easy to make, it’s a costume that decorates itself — throughout your night of revelry, you’ll gather the requisite dust and grime to imply you’ve journeyed through the ages.\u003c/p>\n\u003cfigure id=\"attachment_13812928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812928 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Elgort in Baby Driver (credit: Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. \u003ci>Baby Driver\u003c/i>\u003c/h3>\n\u003cp>Ghouls not your thing? Seize on this year’s smash action flick \u003cem>Baby Driver\u003c/em> by Edgar Wright. Phlegmatic Baby’s look necessitates items that you might already have in your closet: a varsity bomber jacket, dark sunglasses, earbuds and an IDGAF attitude. And if you do plan on driving this Halloween, car insurance.\u003c/p>\n\u003cfigure id=\"attachment_13812929\" class=\"wp-caption alignnone\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg\" alt=\"\" width=\"780\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-520x297.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise in IT (credit: Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. \u003ci>IT\u003c/i>\u003c/h3>\n\u003cp>Do you prefer a costume meant to incite true terror? Then look no further than this year’s horror reboot of \u003cem>IT\u003c/em> by Andy Muschietti. Revive the terror induced by last year’s rash of \u003ca href=\"http://time.com/4518456/scary-clown-sighting-attack-craze/\" target=\"_blank\" rel=\"noopener\">creepy clown sightings\u003c/a> around the country as Stephen King’s monstrous clown creation, Pennywise. The key is not to get lost in the details. You’re sure to find a Halloween makeup kit at any drugstore. Then dig up a pair of baggy pajamas and pick up a red helium balloon on the way to the party, and you’re all set for giving your friends nightmares.\u003c/p>\n\u003cfigure id=\"attachment_13812930\" class=\"wp-caption alignnone\" style=\"max-width: 438px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812930 \" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/pris_blade_runner-e1509135850965.jpg\" alt=\"\" width=\"438\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Pris Stratton played by Daryl Hannah in Blade Runner (credit: Warner Bros Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. \u003ci>Blade Runner\u003c/i>\u003c/h3>\n\u003cp>Another reboot making a resurgence this fall is \u003cem>Blade Runner 2049\u003c/em>, but rather than chasing a trend, take a cue from the original 80’s classic \u003cem>Blade Runner\u003c/em> by Ridley Scott and replicate Pris Stratton – the “basic pleasure model” replicant from the film. If you ever went through a goth phase, your closet already holds the beginnings of this costume. Think black — a black dress, black boots, black choker, black eye makeup and a blond wig are all you need to pull this outfit together.\u003c/p>\n\u003cfigure id=\"attachment_13812931\" class=\"wp-caption alignnone\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13812931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg\" alt=\"\" width=\"430\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-240x318.jpg 240w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Tippi Hedren in The Birds (credit: Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. \u003ci>The Birds\u003c/i>\u003c/h3>\n\u003cp>No Halloween is complete without an ode to the master of suspense, Alfred Hitchcock. Give a nod to the Bay Area’s own Tippi Hedren this Halloween with a recreation of her iconic turn as Melanie Daniels in \u003cem>The Birds\u003c/em>. All that is required is a pencil skirt and jacket reminiscent of the 1960’s, her iconic french twist up-do and some bird seed to attract some needed accessories. Why bother with fake feathers in your hair when you can cause an even bigger stir by bringing the live birds with you?\u003c/p>\n\u003cfigure id=\"attachment_13812932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812932 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg\" alt=\"\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves in John Wick (credit: Lionsgate)\u003c/figcaption>\u003c/figure>\n\u003ch3>6. \u003ci>John Wick\u003c/i>\u003c/h3>\n\u003cp>Do you have a penchant for vengeance, but a soft spot for cuddly creatures? Look no further for movie inspiration than \u003cem>John Wick\u003c/em> by David Leitch and Chad Stahelski. The best part about this look is its simplicity: A well tailored suit, preferably all in black, and a puppy.\u003c/p>\n\u003cfigure id=\"attachment_13812933\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812933 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg\" alt=\"\" width=\"600\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-520x312.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Malcom McDowell center in A Clockwork Orange (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>7. \u003ci>A Clockwork Orange\u003c/i>\u003c/h3>\n\u003cp>When it comes to movie-inspired costumes, you can’t go wrong with any character from the Stanley Kubrick collection. But we recommend taking a look at \u003cem>A Clockwork Orange\u003c/em> for some Halloween inspiration. Embrace Kubrick’s dystopian future and don the look of the “Droogs” gang with a bowler hat, suspenders, some dramatic eyelashes and a glass of milk because every growing guy or gal needs their calcium. \u003c/p>\n\u003cfigure id=\"attachment_13812934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louise and Lisa Burns as the Grady twins in The Shining (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>8. \u003ci>The Shining\u003c/i>\u003c/h3>\n\u003cp>Another Stanley Kubrick gem for Halloween inspiration is \u003cem>The Shining\u003c/em>. While the trending hipster, lumberjack-chic would make copying father-turned-possessed-murderer Jack a cinch, challenge yourself and go as the Grady twins. Don’t get hung up on the wardrobe details with this one. Any frilly, child-like dress with hair clip will do. They key is finding a twin to really make people do a double take. Whether or not you go for blood is up to you.\u003c/p>\n\u003cfigure id=\"attachment_13812935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812935\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Duplass in Creep (credit: Blumhouse Productions)\u003c/figcaption>\u003c/figure>\n\u003ch3>9. \u003ci>Creep\u003c/i>\u003c/h3>\n\u003cp>If you’re aiming for the prize of “most esoteric costume ever,” take on the role of Josef from \u003cem>Creep\u003c/em> by Patrick Brice. This modern cult horror film just stepped into the franchise arena with \u003cem>Creep 2\u003c/em> this year and it’s already garnering attention on the indie scene. Mark Duplass’s goofy, grinning villain keeps the costuming simple with a black zip-up jacket, dad jeans and a very well-maned werewolf mask. Add a few unsettling hip gyrations à la \u003ca href=\"https://www.youtube.com/watch?v=vWu_6Vlrzhg\" target=\"_blank\" rel=\"noopener\">the scene seen\u003c/a> around the world and people might not know who you are, but they won’t want to stand next to you. If you really want to go the extra mile, you can \u003ca href=\"https://www.youtube.com/watch?v=sAm8QoSyA6A\">learn the song\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13812936\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg\" alt=\"\" width=\"680\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-520x354.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Thora Birch in Ghost World (credit: United Artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>10. \u003ci>Ghost World\u003c/i>\u003c/h3>\n\u003cp>The 90’s are having a resurgence. My 20-something roommates listen to nothing but Green Day and Nirvana, and everyone has a wallet chain again. With that in mind, nothing says 90’s like Terry Zwigoff’s cult hit \u003cem>Ghost World,\u003c/em> which stars a young Thora Birch and Scarlett Johansson. Bust out the best in the bottom of your closet to recreate this iconic look. With a mini-skirt, comic t-shirt, combat boots and glasses, people might just think you’re on trend and not in costume. Be sure to make reference to your obscure vinyl collection repeatedly at any event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>These costumes are totally doable, last minute get-ups. We’ve even done some ourselves!\u003c/p>\n\u003cfigure id=\"attachment_13812953\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812953 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_costumes-e1509139846840.jpg\" alt=\"\" width=\"600\" height=\"678\">\u003cfigcaption class=\"wp-caption-text\">Carly Severn as Pris and Julia Shackelford as Josef (credit: Zaldy Serrano and Anna Oh)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy haunting this Halloween season movie lovers!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been left scrambling to assemble a Halloween costume in the eleventh hour, consider using your movie knowledge to help you dress to impress. The \u003ca href=\"https://www.facebook.com/FilmSchoolShorts\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> team has curated ten costumes inspired by cinema, ranging from blockbuster hits to the indie arcane, in the hopes of inspiring your Halloween look.\u003c/p>\n\u003cfigure id=\"attachment_13812927\" class=\"wp-caption alignnone\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812927 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg\" alt=\"\" width=\"620\" height=\"260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ghoststory-e1509136603144-520x218.jpg 520w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">A Ghost Story (credit: A24)\u003c/figcaption>\u003c/figure>\n\u003ch3>1. \u003ci>A Ghost Story\u003c/i>\u003c/h3>\n\u003cp>Not one to fret the details? Invest in some extra bedding and recreate a time-honored Halloween staple — the bed sheet ghost. The iconic look was used this year in a meditation on grief called \u003ca href=\"https://ww2.kqed.org/arts/2017/07/14/grief-hangs-around-at-home-in-a-ghost-story/\">\u003cem>A Ghost Story\u003c/em>\u003c/a> by David Lowery. All you need is a pair of scissors and a California King white bed sheet. Besides being easy to make, it’s a costume that decorates itself — throughout your night of revelry, you’ll gather the requisite dust and grime to imply you’ve journeyed through the ages.\u003c/p>\n\u003cfigure id=\"attachment_13812928\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812928 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Ansel-Elgort-in-Baby-Driver.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ansel Elgort in Baby Driver (credit: Sony Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. \u003ci>Baby Driver\u003c/i>\u003c/h3>\n\u003cp>Ghouls not your thing? Seize on this year’s smash action flick \u003cem>Baby Driver\u003c/em> by Edgar Wright. Phlegmatic Baby’s look necessitates items that you might already have in your closet: a varsity bomber jacket, dark sunglasses, earbuds and an IDGAF attitude. And if you do plan on driving this Halloween, car insurance.\u003c/p>\n\u003cfigure id=\"attachment_13812929\" class=\"wp-caption alignnone\" style=\"max-width: 780px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg\" alt=\"\" width=\"780\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/it-trailer-2-938x535-520x297.jpg 520w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise in IT (credit: Warner Bros. Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. \u003ci>IT\u003c/i>\u003c/h3>\n\u003cp>Do you prefer a costume meant to incite true terror? Then look no further than this year’s horror reboot of \u003cem>IT\u003c/em> by Andy Muschietti. Revive the terror induced by last year’s rash of \u003ca href=\"http://time.com/4518456/scary-clown-sighting-attack-craze/\" target=\"_blank\" rel=\"noopener\">creepy clown sightings\u003c/a> around the country as Stephen King’s monstrous clown creation, Pennywise. The key is not to get lost in the details. You’re sure to find a Halloween makeup kit at any drugstore. Then dig up a pair of baggy pajamas and pick up a red helium balloon on the way to the party, and you’re all set for giving your friends nightmares.\u003c/p>\n\u003cfigure id=\"attachment_13812930\" class=\"wp-caption alignnone\" style=\"max-width: 438px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812930 \" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/pris_blade_runner-e1509135850965.jpg\" alt=\"\" width=\"438\" height=\"565\">\u003cfigcaption class=\"wp-caption-text\">Pris Stratton played by Daryl Hannah in Blade Runner (credit: Warner Bros Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>4. \u003ci>Blade Runner\u003c/i>\u003c/h3>\n\u003cp>Another reboot making a resurgence this fall is \u003cem>Blade Runner 2049\u003c/em>, but rather than chasing a trend, take a cue from the original 80’s classic \u003cem>Blade Runner\u003c/em> by Ridley Scott and replicate Pris Stratton – the “basic pleasure model” replicant from the film. If you ever went through a goth phase, your closet already holds the beginnings of this costume. Think black — a black dress, black boots, black choker, black eye makeup and a blond wig are all you need to pull this outfit together.\u003c/p>\n\u003cfigure id=\"attachment_13812931\" class=\"wp-caption alignnone\" style=\"max-width: 430px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13812931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg\" alt=\"\" width=\"430\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren.jpg 302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_birds_tippi_hedren-240x318.jpg 240w\" sizes=\"(max-width: 430px) 100vw, 430px\">\u003cfigcaption class=\"wp-caption-text\">Tippi Hedren in The Birds (credit: Universal Pictures)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. \u003ci>The Birds\u003c/i>\u003c/h3>\n\u003cp>No Halloween is complete without an ode to the master of suspense, Alfred Hitchcock. Give a nod to the Bay Area’s own Tippi Hedren this Halloween with a recreation of her iconic turn as Melanie Daniels in \u003cem>The Birds\u003c/em>. All that is required is a pencil skirt and jacket reminiscent of the 1960’s, her iconic french twist up-do and some bird seed to attract some needed accessories. Why bother with fake feathers in your hair when you can cause an even bigger stir by bringing the live birds with you?\u003c/p>\n\u003cfigure id=\"attachment_13812932\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812932 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg\" alt=\"\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1920x1097.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/john_wick_puppy-e1509136262895-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves in John Wick (credit: Lionsgate)\u003c/figcaption>\u003c/figure>\n\u003ch3>6. \u003ci>John Wick\u003c/i>\u003c/h3>\n\u003cp>Do you have a penchant for vengeance, but a soft spot for cuddly creatures? Look no further for movie inspiration than \u003cem>John Wick\u003c/em> by David Leitch and Chad Stahelski. The best part about this look is its simplicity: A well tailored suit, preferably all in black, and a puppy.\u003c/p>\n\u003cfigure id=\"attachment_13812933\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812933 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg\" alt=\"\" width=\"600\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a-clockwork-orange-520x312.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Malcom McDowell center in A Clockwork Orange (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>7. \u003ci>A Clockwork Orange\u003c/i>\u003c/h3>\n\u003cp>When it comes to movie-inspired costumes, you can’t go wrong with any character from the Stanley Kubrick collection. But we recommend taking a look at \u003cem>A Clockwork Orange\u003c/em> for some Halloween inspiration. Embrace Kubrick’s dystopian future and don the look of the “Droogs” gang with a bowler hat, suspenders, some dramatic eyelashes and a glass of milk because every growing guy or gal needs their calcium. \u003c/p>\n\u003cfigure id=\"attachment_13812934\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg\" alt=\"\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the_grady_twins_the_shining.jpg 1220w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Louise and Lisa Burns as the Grady twins in The Shining (credit: Warner Bros.)\u003c/figcaption>\u003c/figure>\n\u003ch3>8. \u003ci>The Shining\u003c/i>\u003c/h3>\n\u003cp>Another Stanley Kubrick gem for Halloween inspiration is \u003cem>The Shining\u003c/em>. While the trending hipster, lumberjack-chic would make copying father-turned-possessed-murderer Jack a cinch, challenge yourself and go as the Grady twins. Don’t get hung up on the wardrobe details with this one. Any frilly, child-like dress with hair clip will do. They key is finding a twin to really make people do a double take. Whether or not you go for blood is up to you.\u003c/p>\n\u003cfigure id=\"attachment_13812935\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812935\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/creep_mark_duplass-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Duplass in Creep (credit: Blumhouse Productions)\u003c/figcaption>\u003c/figure>\n\u003ch3>9. \u003ci>Creep\u003c/i>\u003c/h3>\n\u003cp>If you’re aiming for the prize of “most esoteric costume ever,” take on the role of Josef from \u003cem>Creep\u003c/em> by Patrick Brice. This modern cult horror film just stepped into the franchise arena with \u003cem>Creep 2\u003c/em> this year and it’s already garnering attention on the indie scene. Mark Duplass’s goofy, grinning villain keeps the costuming simple with a black zip-up jacket, dad jeans and a very well-maned werewolf mask. Add a few unsettling hip gyrations à la \u003ca href=\"https://www.youtube.com/watch?v=vWu_6Vlrzhg\" target=\"_blank\" rel=\"noopener\">the scene seen\u003c/a> around the world and people might not know who you are, but they won’t want to stand next to you. If you really want to go the extra mile, you can \u003ca href=\"https://www.youtube.com/watch?v=sAm8QoSyA6A\">learn the song\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13812936\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg\" alt=\"\" width=\"680\" height=\"463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World.jpeg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-240x163.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-375x255.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rebecca-Enid-From-Ghost-World-520x354.jpeg 520w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Scarlett Johansson and Thora Birch in Ghost World (credit: United Artists)\u003c/figcaption>\u003c/figure>\n\u003ch3>10. \u003ci>Ghost World\u003c/i>\u003c/h3>\n\u003cp>The 90’s are having a resurgence. My 20-something roommates listen to nothing but Green Day and Nirvana, and everyone has a wallet chain again. With that in mind, nothing says 90’s like Terry Zwigoff’s cult hit \u003cem>Ghost World,\u003c/em> which stars a young Thora Birch and Scarlett Johansson. Bust out the best in the bottom of your closet to recreate this iconic look. With a mini-skirt, comic t-shirt, combat boots and glasses, people might just think you’re on trend and not in costume. Be sure to make reference to your obscure vinyl collection repeatedly at any event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These costumes are totally doable, last minute get-ups. We’ve even done some ourselves!\u003c/p>\n\u003cfigure id=\"attachment_13812953\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13812953 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_costumes-e1509139846840.jpg\" alt=\"\" width=\"600\" height=\"678\">\u003cfigcaption class=\"wp-caption-text\">Carly Severn as Pris and Julia Shackelford as Josef (credit: Zaldy Serrano and Anna Oh)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Happy haunting this Halloween season movie lovers!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kevin Spacey Apologizes for Alleged Sexual Misconduct [UPDATED]",
"headTitle": "Kevin Spacey Apologizes for Alleged Sexual Misconduct [UPDATED] | KQED",
"content": "\u003cp>\u003cb>UPDATE:\u003c/b>\u003c/p>\n\u003cp>The fallout facing Kevin Spacey widened Monday following an accusation that he allegedly made sexual advances on a teen boy, with Netflix pulling the plug on his hit show \u003cem>House of Cards\u003c/em> and “deeply troubled” producers of the political thriller arriving on set to comfort cast mates.\u003c/p>\n\u003cp>Executives from Netflix and the show’s producer, Media Rights Capital, said they arrived in Baltimore, where the show is shot, on Monday afternoon to make sure actors and crew “continue to feel safe and supported.” Spacey was not scheduled to be on set on Monday.\u003c/p>\n\u003cp>Though the decision to end the series was announced on Monday, the decision to end the series was made several months ago, according to a person with knowledge of the situation who spoke on condition of anonymity because they were not authorized to discuss the decision.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rapp, 46, made the allegation against Spacey in an interview with Buzzfeed that was published Sunday night. In it, he said that when he was a teenage actor working in New York, Spacey invited him to his apartment for a party, after which the older actor, then in his mid-20s, carried Rapp to a bed and laid on top of him.\u003c/p>\n\u003cp>“He was trying to seduce me,” \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14\" target=\"_blank\" rel=\"noopener\">Rapp told Buzzfeed\u003c/a>. “I don’t know if I would have used that language. But I was aware that he was trying to get with me sexually.”\u003c/p>\n\u003cp>Rapp said that he was able to push Spacey away and soon left the apartment — but that the incident has stuck with him.\u003c/p>\n\u003cp>https://twitter.com/albinokid/status/924849990257823744\u003c/p>\n\u003cp>“The older I get, and the more I know, I feel very fortunate that something worse didn’t happen,” he said. “And at the same time, the older I get, the more I can’t believe it. I could never imagine [that] anyone else I know would do something like that to a 14-year-old boy.”\u003c/p>\n\u003cp>By going public with his story on the heels of earthshaking allegations of sexual assault and predatory behavior by Harvey Weinstein, James Toback, and other powerful Hollywood and media figures, \u003ca href=\"https://twitter.com/albinokid/status/924849990257823744\" target=\"_blank\" rel=\"noopener\">Rapp said he was\u003c/a> “standing on the shoulders of the many courageous women and men who have been speaking out to shine a light and hopefully make a difference, as they have done for me.”\u003c/p>\n\u003cp>https://twitter.com/KevinSpacey/status/924848412842971136\u003c/p>\n\u003cp>Within hours, \u003ca href=\"https://twitter.com/KevinSpacey/status/924848412842971136\" target=\"_blank\" rel=\"noopener\">Spacey had responded\u003c/a> to the Buzzfeed interview. In a tweet that was posted at midnight Eastern Time, the actor, 58, said of Rapp:\u003c/p>\n\u003cp>“I’m beyond horrified to hear his story. I honestly do not recall the encounter, it would have been over 30 years ago. But if I did behave then as he describes I owe him the sincerest apology for what would have been deeply inappropriate drunken behavior, and I am sorry for the feelings he describes having carried with him all these years.”\u003c/p>\n\u003cp>In a much-debated pivot, Spacey then devoted the second (and longer) half of his statement to say that Rapp’s story “has encouraged me to address other things about my life.”\u003c/p>\n\u003cp>He went on to confirm longstanding rumors about his sexuality, stating, “I choose now to live as a gay man.”\u003c/p>\n\u003cp>Spacey’s use of his first public statement about alleged inappropriate behavior toward a teenager to come out generated a second wave of discussion on Twitter and other social media outlets.\u003c/p>\n\u003cp>A top comment on Spacey’s tweeted statement comes from the conservative Columbia Bugle, which said, “Nobody cares if you’re gay, what we care about is that you allegedly sexually assaulted a young boy, you imbecile.”\u003c/p>\n\u003cp>Others accused the actor of using a coming-out story as a distraction from the damaging news about him.\u003c/p>\n\u003cp>“No no no no no!” actress and comedian Wanda Sykes wrote. “You do not get to ‘choose’ to hide under the rainbow! Kick rocks!”\u003c/p>\n\u003cp>Dan Savage, the advice columnist and activist, wrote, “Nope to Kevin Spacey’s statement. Nope. There’s no amount of drunk or closeted that excuses or explains away assaulting a 14-year-old child.”\u003c/p>\n\u003cp>Spacey, an Oscar winner who was made an honorary knight of the British empire last summer, concluded his statement by writing, “I want to deal with this honestly and openly and that starts with examining my own behavior.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was not clear whether Spacey was referring to dealing with his own sexuality, or with Rapp’s allegations against him.\u003cbr>\n\u003cem>\u003cbr>\nThe Associated Press contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Kevin+Spacey+Apologizes+To+Anthony+Rapp+Over+Alleged+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b>\u003c/p>\n\u003cp>The fallout facing Kevin Spacey widened Monday following an accusation that he allegedly made sexual advances on a teen boy, with Netflix pulling the plug on his hit show \u003cem>House of Cards\u003c/em> and “deeply troubled” producers of the political thriller arriving on set to comfort cast mates.\u003c/p>\n\u003cp>Executives from Netflix and the show’s producer, Media Rights Capital, said they arrived in Baltimore, where the show is shot, on Monday afternoon to make sure actors and crew “continue to feel safe and supported.” Spacey was not scheduled to be on set on Monday.\u003c/p>\n\u003cp>Though the decision to end the series was announced on Monday, the decision to end the series was made several months ago, according to a person with knowledge of the situation who spoke on condition of anonymity because they were not authorized to discuss the decision.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rapp, 46, made the allegation against Spacey in an interview with Buzzfeed that was published Sunday night. In it, he said that when he was a teenage actor working in New York, Spacey invited him to his apartment for a party, after which the older actor, then in his mid-20s, carried Rapp to a bed and laid on top of him.\u003c/p>\n\u003cp>“He was trying to seduce me,” \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14\" target=\"_blank\" rel=\"noopener\">Rapp told Buzzfeed\u003c/a>. “I don’t know if I would have used that language. But I was aware that he was trying to get with me sexually.”\u003c/p>\n\u003cp>Rapp said that he was able to push Spacey away and soon left the apartment — but that the incident has stuck with him.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“The older I get, and the more I know, I feel very fortunate that something worse didn’t happen,” he said. “And at the same time, the older I get, the more I can’t believe it. I could never imagine [that] anyone else I know would do something like that to a 14-year-old boy.”\u003c/p>\n\u003cp>By going public with his story on the heels of earthshaking allegations of sexual assault and predatory behavior by Harvey Weinstein, James Toback, and other powerful Hollywood and media figures, \u003ca href=\"https://twitter.com/albinokid/status/924849990257823744\" target=\"_blank\" rel=\"noopener\">Rapp said he was\u003c/a> “standing on the shoulders of the many courageous women and men who have been speaking out to shine a light and hopefully make a difference, as they have done for me.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Within hours, \u003ca href=\"https://twitter.com/KevinSpacey/status/924848412842971136\" target=\"_blank\" rel=\"noopener\">Spacey had responded\u003c/a> to the Buzzfeed interview. In a tweet that was posted at midnight Eastern Time, the actor, 58, said of Rapp:\u003c/p>\n\u003cp>“I’m beyond horrified to hear his story. I honestly do not recall the encounter, it would have been over 30 years ago. But if I did behave then as he describes I owe him the sincerest apology for what would have been deeply inappropriate drunken behavior, and I am sorry for the feelings he describes having carried with him all these years.”\u003c/p>\n\u003cp>In a much-debated pivot, Spacey then devoted the second (and longer) half of his statement to say that Rapp’s story “has encouraged me to address other things about my life.”\u003c/p>\n\u003cp>He went on to confirm longstanding rumors about his sexuality, stating, “I choose now to live as a gay man.”\u003c/p>\n\u003cp>Spacey’s use of his first public statement about alleged inappropriate behavior toward a teenager to come out generated a second wave of discussion on Twitter and other social media outlets.\u003c/p>\n\u003cp>A top comment on Spacey’s tweeted statement comes from the conservative Columbia Bugle, which said, “Nobody cares if you’re gay, what we care about is that you allegedly sexually assaulted a young boy, you imbecile.”\u003c/p>\n\u003cp>Others accused the actor of using a coming-out story as a distraction from the damaging news about him.\u003c/p>\n\u003cp>“No no no no no!” actress and comedian Wanda Sykes wrote. “You do not get to ‘choose’ to hide under the rainbow! Kick rocks!”\u003c/p>\n\u003cp>Dan Savage, the advice columnist and activist, wrote, “Nope to Kevin Spacey’s statement. Nope. There’s no amount of drunk or closeted that excuses or explains away assaulting a 14-year-old child.”\u003c/p>\n\u003cp>Spacey, an Oscar winner who was made an honorary knight of the British empire last summer, concluded his statement by writing, “I want to deal with this honestly and openly and that starts with examining my own behavior.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was not clear whether Spacey was referring to dealing with his own sexuality, or with Rapp’s allegations against him.\u003cbr>\n\u003cem>\u003cbr>\nThe Associated Press contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Kevin+Spacey+Apologizes+To+Anthony+Rapp+Over+Alleged+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Doc Stories More Than Just the Facts, Ma'am",
"headTitle": "Now Playing! Doc Stories More Than Just the Facts, Ma’am | KQED",
"content": "\u003cp>A lot of factors have fueled the ascendance and acceptance of documentaries in recent years, but entertainment value is near the top of the list. Forget those ponderous educational films you were forced to watch in school. Nowadays, the average doc boasts weirdly fascinating characters, a narrative trajectory, eye-pleasing camerawork, snazzy editing and wall-to-wall music.\u003c/p>\n\u003cp>More documentaries than you would imagine chart a course between reality TV (without the cynically manufactured drama) and Hollywood movies (ditto the skillfully contrived melodrama). They seek to amuse intelligent people, while providing the recommended daily amount of fiber.\u003c/p>\n\u003cfigure id=\"attachment_13813055\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg\" alt=\"Still from 'Arthur Miller: Writer.'\" width=\"767\" height=\"576\" class=\"size-full wp-image-13813055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Arthur Miller: Writer.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, I’m surprised that this year’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/year-round-series/doc-stories-2017\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a> (Nov. 2-5 at the Vogue) is so tilted toward pop culture subjects and away from social issues. Portraits of Kubrick aide Leon Vitali (\u003ca href=\"https://www.sffilm.org/screenings-and-events/filmworker\" target=\"_blank\" rel=\"noopener\">\u003cem>Filmworker\u003c/em>\u003c/a>) and ace tennis coach Nick Bolletierri (\u003ca href=\"https://www.sffilm.org/screenings-and-events/love-means-zero\" target=\"_blank\" rel=\"noopener\">\u003cem>Love Means Zero\u003c/em>\u003c/a>) dot the lineup, along with Rebecca Miller’s study of her father (\u003ca href=\"https://www.sffilm.org/screenings-and-events/arthur-miller-writer\" target=\"_blank\" rel=\"noopener\">\u003cem>Arthur Miller: Writer\u003c/em>\u003c/a>) and \u003ca href=\"https://www.sffilm.org/screenings-and-events/voyeur\" target=\"_blank\" rel=\"noopener\">\u003cem>Voyeur\u003c/em>\u003c/a>, which digs into the sensational tales that Colorado motel owner Gerald Foos peddled to author Gay Talese.\u003c/p>\n\u003cp>Adding to the pop/celebrity vibe, the SFFILM series opens with the first half of \u003ca href=\"https://www.sffilm.org/screenings-and-events/rolling-stone-stories-from-the-edge-part-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone: Stories from the Edge\u003c/em>\u003c/a>, Alex Gibney’s two-part history of Jann Wenner’s San Francisco-centered rock ‘n’ roll baby. (There had better be a segment devoted to the late, great Ralph J. Gleason.) On the back end, the weekend wraps with Chris Smith’s obsessive immersion in Andy Kaufman, Jim Carrey and \u003cem>Man on the Moon\u003c/em>, entitled \u003ca href=\"https://www.sffilm.org/jim-and-andy\" target=\"_blank\" rel=\"noopener\">\u003cem>Jim & Andy: The Great Beyond—Featuring a Very Special, Contractually Obligated Mention of Tony Clifton\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13813054\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813054\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg\" alt=\"Still from 'The Final Year.'\" width=\"767\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Final Year.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these films are well made and raise important themes — from journalistic integrity to the cost of uncompromising artistry to the price of loyalty. Most of the filmmakers are scheduled to attend, and they will surely expound on their docs’ loftier aspirations. But a couple other films may resonate with moviegoers the longest, because their stakes are so high: Sonja Sohn’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/baltimore-rising\" target=\"_blank\" rel=\"noopener\">\u003cem>Baltimore Rising\u003c/em>\u003c/a> documents the aftermath of Freddie Gray’s death in police custody, while Greg Barker’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/the-final-year\" target=\"_blank\" rel=\"noopener\">\u003cem>The Final Year\u003c/em>\u003c/a> follows President Barack Obama’s foreign policy triad of Samantha Power, John Kerry and Ben Rhodes. It’s hard to top real-world drama with global consequences.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of factors have fueled the ascendance and acceptance of documentaries in recent years, but entertainment value is near the top of the list. Forget those ponderous educational films you were forced to watch in school. Nowadays, the average doc boasts weirdly fascinating characters, a narrative trajectory, eye-pleasing camerawork, snazzy editing and wall-to-wall music.\u003c/p>\n\u003cp>More documentaries than you would imagine chart a course between reality TV (without the cynically manufactured drama) and Hollywood movies (ditto the skillfully contrived melodrama). They seek to amuse intelligent people, while providing the recommended daily amount of fiber.\u003c/p>\n\u003cfigure id=\"attachment_13813055\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg\" alt=\"Still from 'Arthur Miller: Writer.'\" width=\"767\" height=\"576\" class=\"size-full wp-image-13813055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ArthurMillerWriter_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Arthur Miller: Writer.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That said, I’m surprised that this year’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/year-round-series/doc-stories-2017\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a> (Nov. 2-5 at the Vogue) is so tilted toward pop culture subjects and away from social issues. Portraits of Kubrick aide Leon Vitali (\u003ca href=\"https://www.sffilm.org/screenings-and-events/filmworker\" target=\"_blank\" rel=\"noopener\">\u003cem>Filmworker\u003c/em>\u003c/a>) and ace tennis coach Nick Bolletierri (\u003ca href=\"https://www.sffilm.org/screenings-and-events/love-means-zero\" target=\"_blank\" rel=\"noopener\">\u003cem>Love Means Zero\u003c/em>\u003c/a>) dot the lineup, along with Rebecca Miller’s study of her father (\u003ca href=\"https://www.sffilm.org/screenings-and-events/arthur-miller-writer\" target=\"_blank\" rel=\"noopener\">\u003cem>Arthur Miller: Writer\u003c/em>\u003c/a>) and \u003ca href=\"https://www.sffilm.org/screenings-and-events/voyeur\" target=\"_blank\" rel=\"noopener\">\u003cem>Voyeur\u003c/em>\u003c/a>, which digs into the sensational tales that Colorado motel owner Gerald Foos peddled to author Gay Talese.\u003c/p>\n\u003cp>Adding to the pop/celebrity vibe, the SFFILM series opens with the first half of \u003ca href=\"https://www.sffilm.org/screenings-and-events/rolling-stone-stories-from-the-edge-part-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone: Stories from the Edge\u003c/em>\u003c/a>, Alex Gibney’s two-part history of Jann Wenner’s San Francisco-centered rock ‘n’ roll baby. (There had better be a segment devoted to the late, great Ralph J. Gleason.) On the back end, the weekend wraps with Chris Smith’s obsessive immersion in Andy Kaufman, Jim Carrey and \u003cem>Man on the Moon\u003c/em>, entitled \u003ca href=\"https://www.sffilm.org/jim-and-andy\" target=\"_blank\" rel=\"noopener\">\u003cem>Jim & Andy: The Great Beyond—Featuring a Very Special, Contractually Obligated Mention of Tony Clifton\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13813054\" class=\"wp-caption aligncenter\" style=\"max-width: 767px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13813054\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg\" alt=\"Still from 'The Final Year.'\" width=\"767\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px.jpg 767w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/TheFinalYear_767x576px-520x391.jpg 520w\" sizes=\"(max-width: 767px) 100vw, 767px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Final Year.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of these films are well made and raise important themes — from journalistic integrity to the cost of uncompromising artistry to the price of loyalty. Most of the filmmakers are scheduled to attend, and they will surely expound on their docs’ loftier aspirations. But a couple other films may resonate with moviegoers the longest, because their stakes are so high: Sonja Sohn’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/baltimore-rising\" target=\"_blank\" rel=\"noopener\">\u003cem>Baltimore Rising\u003c/em>\u003c/a> documents the aftermath of Freddie Gray’s death in police custody, while Greg Barker’s \u003ca href=\"https://www.sffilm.org/screenings-and-events/the-final-year\" target=\"_blank\" rel=\"noopener\">\u003cem>The Final Year\u003c/em>\u003c/a> follows President Barack Obama’s foreign policy triad of Samantha Power, John Kerry and Ben Rhodes. It’s hard to top real-world drama with global consequences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Yorgos Lanthimos Animates Divine Vengeance in 'A Sacred Deer'",
"headTitle": "Yorgos Lanthimos Animates Divine Vengeance in ‘A Sacred Deer’ | KQED",
"content": "\u003cp>The dramatic weight of what’s shown on screen in \u003cem>The Killing of a Sacred Deer\u003c/em> is equal to what director Yorgos Lanthimos withholds. Having established his ability to disguise ancient tragedy in contemporary clothing with his first English-language film \u003cem>The Lobster\u003c/em> (2015), the Greek director’s mise en scène is even more assured here. \u003cem>Sacred Deer\u003c/em> convicts its hero, Dr. Steven Murphy (Colin Farrell), three years before the film even begins. How his punishment is meted out is what differentiates a Lanthimos film from ordinary films within the thriller genre.\u003c/p>\n\u003cp>Steven is a heart surgeon who shares a comfortable house in the Cincinnati suburbs with his nuclear family. His wife Anna (Nicole Kidman) is an ophthalmologist fretting over plans to redecorate her office. Kim (Raffey Cassidy) and Bob (Sunny Suljic) are their beautiful, healthy children. Their shared, if latent, dysfunction manifests itself upon the arrival of an older teenage boy named Martin (Barry Keoghan) who insinuates himself into their lives.\u003c/p>\n\u003cfigure id=\"attachment_13812772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg\" alt=\"Colin Farrell and Barry Keoghan in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Colin Farrell and Barry Keoghan in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin’s pockmarked face is red with pimples. His head and neck are in constant motion — they circle and shake, ever tremulous. He can’t keep his demons still. At first glance, Steven’s connection with this weird, angry boy appears to be inappropriate (they meet in parking lots and a dimly lit diner). Even after we see the Murphys eating together at their dinner table, it’s unclear whether or not Martin is Steven’s illegitimate son or something else implicitly untoward.\u003c/p>\n\u003cp>Lanthimos expertly creates room on screen for these psychological gray areas to thrive. Like a modern-day oracle, the director is communicating a message to the audience from some troubled god, yet he refuses to explain away our uncertainty. The director is only willing to give us glimpses inside the Murphys’ domestic routine and the resultant anomie. We’re meant to draw our own conclusions from scenes like the one in which the Drs. Murphy play a pre-coital game called “general anesthesia.”\u003c/p>\n\u003cp>As an imperious yet helpless mother, Kidman allows a breathtaking ugliness into her performance. It saturates the character’s facial expressions that well up from whatever’s left of her soul. She’s exquisite as a woman who’s grown complicit in and compliant with her husband’s moral decline.\u003c/p>\n\u003cfigure id=\"attachment_13812773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg\" alt=\"Nicole Kidman in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Kidman in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is, by and large, Farrell’s film, and his second with Lanthimos after \u003cem>The Lobster.\u003c/em> His Dr. Murphy hides his features with a full beard and mustache. He’s ashamed of looking anyone in the eyes for long, if he will at all. At 41, Farrell’s youthful bravado is gone. It’s been replaced by something better — his willingness to embody human failure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here he is tasked, like Orestes before him, with facing down the Furies. It’s not an exact parallel, nor is comparing his David in \u003cem>The Lobster\u003c/em> to Oedipus, but this Greek director isn’t against making allusions to those classical protagonists. Steven Murphy meets his nemesis in Martin, who does more than ask that the doctor be held accountable for a past wrongdoing. He demands it in incantatory speeches, and then, somehow, he’s rewarded by inexplicable, unseen forces.\u003c/p>\n\u003cp>Last year in May, Lanthimos was in San Francisco to discuss \u003cem>The Lobster,\u003c/em> which played at the San Francisco International Film Festival. He parried my questions about the use of cruelty in his films with non-answers: “I never know what to say about that.” Without revealing any details, \u003cem>Sacred Deer\u003c/em> ups the ante on the cruelty quotient. The previews and plot summaries alone will send some potential moviegoers to other theaters. But after a second and third attempt at rephrasing the question, the director did expand on his initial, vague response.\u003c/p>\n\u003cp>Lanthimos said, “I’m interested in exploring situations that are not functioning properly. There’s trouble in them. Obviously that’s a very conscious choice: I’m not making a film about a very happy family where everything is perfect.”\u003c/p>\n\u003cp>After watching \u003cem>Sacred Deer\u003c/em>, no one would accuse him of being interested in the Murphy family’s sense of happiness. Their story provided him with an opportunity to bring plausible life back to Nemesis, the Greek goddess of divine vengeance. By default, her involvement means that justice was done, leaving the director absolved of having made them suffer a terrible punishment.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killing of a Sacred Deer’ is showing at the Alamo Drafthouse Cinema in San Francisco. For more information, \u003ca href=\"https://drafthouse.com/sf/show/the-killing-of-a-sacred-deer\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Greek director doesn't swerve from depicting a family's latent dysfunction in this modern-day myth.",
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"title": "Yorgos Lanthimos Animates Divine Vengeance in 'A Sacred Deer' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The dramatic weight of what’s shown on screen in \u003cem>The Killing of a Sacred Deer\u003c/em> is equal to what director Yorgos Lanthimos withholds. Having established his ability to disguise ancient tragedy in contemporary clothing with his first English-language film \u003cem>The Lobster\u003c/em> (2015), the Greek director’s mise en scène is even more assured here. \u003cem>Sacred Deer\u003c/em> convicts its hero, Dr. Steven Murphy (Colin Farrell), three years before the film even begins. How his punishment is meted out is what differentiates a Lanthimos film from ordinary films within the thriller genre.\u003c/p>\n\u003cp>Steven is a heart surgeon who shares a comfortable house in the Cincinnati suburbs with his nuclear family. His wife Anna (Nicole Kidman) is an ophthalmologist fretting over plans to redecorate her office. Kim (Raffey Cassidy) and Bob (Sunny Suljic) are their beautiful, healthy children. Their shared, if latent, dysfunction manifests itself upon the arrival of an older teenage boy named Martin (Barry Keoghan) who insinuates himself into their lives.\u003c/p>\n\u003cfigure id=\"attachment_13812772\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812772\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg\" alt=\"Colin Farrell and Barry Keoghan in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_05486_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Colin Farrell and Barry Keoghan in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin’s pockmarked face is red with pimples. His head and neck are in constant motion — they circle and shake, ever tremulous. He can’t keep his demons still. At first glance, Steven’s connection with this weird, angry boy appears to be inappropriate (they meet in parking lots and a dimly lit diner). Even after we see the Murphys eating together at their dinner table, it’s unclear whether or not Martin is Steven’s illegitimate son or something else implicitly untoward.\u003c/p>\n\u003cp>Lanthimos expertly creates room on screen for these psychological gray areas to thrive. Like a modern-day oracle, the director is communicating a message to the audience from some troubled god, yet he refuses to explain away our uncertainty. The director is only willing to give us glimpses inside the Murphys’ domestic routine and the resultant anomie. We’re meant to draw our own conclusions from scenes like the one in which the Drs. Murphy play a pre-coital game called “general anesthesia.”\u003c/p>\n\u003cp>As an imperious yet helpless mother, Kidman allows a breathtaking ugliness into her performance. It saturates the character’s facial expressions that well up from whatever’s left of her soul. She’s exquisite as a woman who’s grown complicit in and compliant with her husband’s moral decline.\u003c/p>\n\u003cfigure id=\"attachment_13812773\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg\" alt=\"Nicole Kidman in 'The Killing of a Sacred Deer.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/the-killing-of-a-sacred-deer-KSD_02198_rgb-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Kidman in ‘The Killing of a Sacred Deer.’ \u003ccite>(JIMA (Atsushi Nishijima); courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But this is, by and large, Farrell’s film, and his second with Lanthimos after \u003cem>The Lobster.\u003c/em> His Dr. Murphy hides his features with a full beard and mustache. He’s ashamed of looking anyone in the eyes for long, if he will at all. At 41, Farrell’s youthful bravado is gone. It’s been replaced by something better — his willingness to embody human failure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here he is tasked, like Orestes before him, with facing down the Furies. It’s not an exact parallel, nor is comparing his David in \u003cem>The Lobster\u003c/em> to Oedipus, but this Greek director isn’t against making allusions to those classical protagonists. Steven Murphy meets his nemesis in Martin, who does more than ask that the doctor be held accountable for a past wrongdoing. He demands it in incantatory speeches, and then, somehow, he’s rewarded by inexplicable, unseen forces.\u003c/p>\n\u003cp>Last year in May, Lanthimos was in San Francisco to discuss \u003cem>The Lobster,\u003c/em> which played at the San Francisco International Film Festival. He parried my questions about the use of cruelty in his films with non-answers: “I never know what to say about that.” Without revealing any details, \u003cem>Sacred Deer\u003c/em> ups the ante on the cruelty quotient. The previews and plot summaries alone will send some potential moviegoers to other theaters. But after a second and third attempt at rephrasing the question, the director did expand on his initial, vague response.\u003c/p>\n\u003cp>Lanthimos said, “I’m interested in exploring situations that are not functioning properly. There’s trouble in them. Obviously that’s a very conscious choice: I’m not making a film about a very happy family where everything is perfect.”\u003c/p>\n\u003cp>After watching \u003cem>Sacred Deer\u003c/em>, no one would accuse him of being interested in the Murphy family’s sense of happiness. Their story provided him with an opportunity to bring plausible life back to Nemesis, the Greek goddess of divine vengeance. By default, her involvement means that justice was done, leaving the director absolved of having made them suffer a terrible punishment.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killing of a Sacred Deer’ is showing at the Alamo Drafthouse Cinema in San Francisco. For more information, \u003ca href=\"https://drafthouse.com/sf/show/the-killing-of-a-sacred-deer\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"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.",
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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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"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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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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",
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