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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein has been fired from the company he co-founded with his brother and is now facing criminal investigations in London, New York and Los Angeles.\u003c/p>\n\u003cp>ABC is spreading its interview with Judd throughout its programming Thursday, with segments expected to air during its nightly newscast and its “Nightline” late-night show.\u003c/p>\n\u003cp>In the “GMA” interview, Judd said the business meeting in Weinstein’s hotel room turned into a negotiation not about work, but about things the producer wanted the actress to do to him.\u003c/p>\n\u003cp>Weinstein first offered to give her a massage, then, when she demurred, asked her to give him one, she said.\u003c/p>\n\u003cp>“I fought with this volley of no’s,” she said.\u003c/p>\n\u003cp>Then she made a “deal.” She said she agreed to submit to him, but only “when I win an Oscar in one of your movies — OK?”\u003c/p>\n\u003cp>“When you get NOMINATED,” Weinstein counter-offered.\u003c/p>\n\u003cp>“And I said, ‘No. When I WIN an Oscar.’ And then I just fled.”\u003c/p>\n\u003cp>Judd said she remains of two minds about how she handled the shocking situation.\u003c/p>\n\u003cp>“Am I proud of that? . The part that shames myself says, ‘No.’ The part of me that understands the way shame works says, ‘That was absolutely brilliant. Good job, kid, you got out of there. Well done!'”\u003c/p>\n\u003cp>Judd said a couple of years after the hotel encounter she was seated across from Weinstein at a dinner. She said he brought up “that little agreement we made,” and claimed he was “looking around for the material.”\u003c/p>\n\u003cp>Then he looked at her and said, “You know, Ashley, I’m going to let you out of that little agreement that we made.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Judd said by then “I had come into my own, I had come into my power, I had found my voice. And I said, ‘You do that, Harvey. You DO that.’\u003cbr>\n“And he has spat my name at me ever since.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Tom Hanks Talks Trump, Weinstein, and America at City Arts & Lectures | KQED",
"content": "\u003cp>Tom Hanks relishes the position he’s in – the comfortable crevice between “America’s Dad” and the left-leaning actor who grew up in the Bay Area and at this point has little to lose in Hollywood by speaking his mind.\u003c/p>\n\u003cfigure id=\"attachment_13812688\" class=\"wp-caption alignright\" style=\"max-width: 473px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg\" alt=\"'Uncommon Type,' by Tom Hanks.\" width=\"473\" height=\"720\" class=\"size-full wp-image-13812688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-375x571.jpg 375w\" sizes=\"(max-width: 473px) 100vw, 473px\">\u003cfigcaption class=\"wp-caption-text\">‘Uncommon Type,’ by Tom Hanks.\u003c/figcaption>\u003c/figure>\n\u003cp>This was more than evident while Hanks, now 61 and a published author of \u003cem>Uncommon Type: Some Stories\u003c/em>, was interviewed by good friend and collaborator Dave Eggers for a City Arts & Lectures appearance at the Nourse Theater on Tuesday night. Hanks — born and raised in the East Bay, an upbringing he recalled fondly and lengthily on stage — took equal pleasure in performing a profanity-laden impression of a restaurant owner, sardonically mocking the failure of recent movie \u003cem>The Circle\u003c/em>, and decrying historical inaccuracies about John Adams in high school textbooks.\u003c/p>\n\u003cp>In other words, Hanks got to be himself, a luxury in Hollywood that he’s earned over 30 years of award-winning roles. That luxury of tenure includes the ability to comfortably criticize Donald Trump, and speak openly about Harvey Weinstein. (And also, to receive an ovation for declaring that he’d just pooped in his pants. You had to be there.)\u003c/p>\n\u003cp>Here’s what Hanks had to say about America in its current moment.\u003c/p>\n\u003cp>\u003cstrong>On Trump\u003c/strong>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have elected buffoons to public office many times in our history. We will do it again. But if you look at what has happened in American history, you have not only a bit of reassurance for where we can go in the future, but also a primer for how we do it. There’s an election every two years. Quite frankly, if you’re not satisfied with where we are politically, later on in the year 2018 we could kick some f-ckin’ ass.\u003c/p>\n\u003cfigure id=\"attachment_13812682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-800x538.jpg\" alt=\"Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \" width=\"800\" height=\"538\" class=\"size-medium wp-image-13812682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \u003ccite>(TIM SLOAN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We have a self-correcting nation here. I don’t want to be too jingoistic or too gung-ho, but are we the only nation that has self-improvement \u003cem>codified\u003c/em> into our foundation? I just saw the actual Constitution of the United States not too long ago, on display. I got chills. And when it was first written down, women did not have the right to vote, slaves and black people were considered only 3/5 of a human being, illiteracy ran rampant in the United States, and we had an indigenous population that was either being squeezed out of its land by musket, or by smallpox. And yet there it is, right there: “We the People of the United States, in order to form a more perfect union…” We are always seeking to form a more perfect union. Perfection is a status that we will never achieve, but we can come closer and closer and closer to it.\u003c/p>\n\u003cp>Look, the cities of San Francisco and Oakland are examples of this before our very eyes. I grew up during the SLA, Huey Newton and the Black Panthers, the Zodiac Killer, and Charlie Finley owning the Oakland A’s. Nothing is fixed to a level of perfection, but we are closer to a more perfect status than ever before. That’s what we can always rely on.”\u003c/p>\n\u003cp>\u003cstrong>On Weinstein and sexual assault in Hollywood\u003c/strong>:\u003c/p>\n\u003cp>“I was not surprised. I can’t say I witnessed it. But here’s the truth. There are people that go into any line of work – ours, Wall Street, whatever – because it’s fun, and because you can’t believe that someone would pay you to do something that you love. There’s people that go into it because you can make a pretty good buck at it if lightning strikes, and there’s nothing wrong with wanting a good buck; it solves a lot of problems. There’s other people that, if they can make it work, they get to have this power of celebrity, and celebrity is in charge. You can get addicted to being somebody who can get a reservation anywhere you want, or always gets cuts in line. Those are viable reasons to go into any line of work.\u003c/p>\n\u003cfigure id=\"attachment_13812684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-800x788.jpg\" alt=\"Tom Hanks and Rita Wilson attend the afterparty for 'The Circle' during the 2017 Tribeca Film Festival on April 26, 2017 in New York City. \" width=\"800\" height=\"788\" class=\"size-medium wp-image-13812684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-1020x1004.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-240x236.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-375x369.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-520x512.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks and Rita Wilson attend the afterparty for ‘The Circle’ during the 2017 Tribeca Film Festival on April 26, 2017 in New York City. \u003ccite>(Photo by Rob Kim/Getty Images for 2017 Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are, however, other people who go into it for one thing only: they want to hold power and influence over people, and they think that’s the coin of the realm. And the people who do that are kind of obvious — they demonstrate it in more than one way in the course of doing businesses with them. It doesn’t matter if you do good work or bad work, the end result, the main purchase that they’re trying to get is influence over you. There are plenty of people of every type, in every line of work, who say, “Here’s how power works. When I am in a position of power over you, I can reward you or I can punish you by whatever whim I choose. And that whim is sexual favors that I am going to demand of you. And if you don’t like those rules, get out of business, too bad, because this is the way it works. I have earned this position in order to hold sway over you.”\u003c/p>\n\u003cp>And that is sexual predatory behavior, and it is illegal, and it is cause for dismissal.\u003c/p>\n\u003cp>I don’t know how many women are here, but how many women in the workplace have experienced some form of predatory sexual behavior? [Nearly every woman in the theater claps.] That’s a lot of people. And it’s illegal.\u003c/p>\n\u003cp>I’m going to tell you that that is a portion of people, and also there are plenty people who would never do that in a million years, but that’s part of Western society. And the question is now: is everything going to change? I’m going to say yes. I think there’s going to be a sea change, and a type of discussion that’s going to be based on a code of ethics that is not an option to participate in, but is going to be a requirement.”\u003c/p>\n\u003cp>[ad floatright]\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>Tom Hanks relishes the position he’s in – the comfortable crevice between “America’s Dad” and the left-leaning actor who grew up in the Bay Area and at this point has little to lose in Hollywood by speaking his mind.\u003c/p>\n\u003cfigure id=\"attachment_13812688\" class=\"wp-caption alignright\" style=\"max-width: 473px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg\" alt=\"'Uncommon Type,' by Tom Hanks.\" width=\"473\" height=\"720\" class=\"size-full wp-image-13812688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-375x571.jpg 375w\" sizes=\"(max-width: 473px) 100vw, 473px\">\u003cfigcaption class=\"wp-caption-text\">‘Uncommon Type,’ by Tom Hanks.\u003c/figcaption>\u003c/figure>\n\u003cp>This was more than evident while Hanks, now 61 and a published author of \u003cem>Uncommon Type: Some Stories\u003c/em>, was interviewed by good friend and collaborator Dave Eggers for a City Arts & Lectures appearance at the Nourse Theater on Tuesday night. Hanks — born and raised in the East Bay, an upbringing he recalled fondly and lengthily on stage — took equal pleasure in performing a profanity-laden impression of a restaurant owner, sardonically mocking the failure of recent movie \u003cem>The Circle\u003c/em>, and decrying historical inaccuracies about John Adams in high school textbooks.\u003c/p>\n\u003cp>In other words, Hanks got to be himself, a luxury in Hollywood that he’s earned over 30 years of award-winning roles. That luxury of tenure includes the ability to comfortably criticize Donald Trump, and speak openly about Harvey Weinstein. (And also, to receive an ovation for declaring that he’d just pooped in his pants. You had to be there.)\u003c/p>\n\u003cp>Here’s what Hanks had to say about America in its current moment.\u003c/p>\n\u003cp>\u003cstrong>On Trump\u003c/strong>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have elected buffoons to public office many times in our history. We will do it again. But if you look at what has happened in American history, you have not only a bit of reassurance for where we can go in the future, but also a primer for how we do it. There’s an election every two years. Quite frankly, if you’re not satisfied with where we are politically, later on in the year 2018 we could kick some f-ckin’ ass.\u003c/p>\n\u003cfigure id=\"attachment_13812682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-800x538.jpg\" alt=\"Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \" width=\"800\" height=\"538\" class=\"size-medium wp-image-13812682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \u003ccite>(TIM SLOAN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We have a self-correcting nation here. I don’t want to be too jingoistic or too gung-ho, but are we the only nation that has self-improvement \u003cem>codified\u003c/em> into our foundation? I just saw the actual Constitution of the United States not too long ago, on display. I got chills. And when it was first written down, women did not have the right to vote, slaves and black people were considered only 3/5 of a human being, illiteracy ran rampant in the United States, and we had an indigenous population that was either being squeezed out of its land by musket, or by smallpox. And yet there it is, right there: “We the People of the United States, in order to form a more perfect union…” We are always seeking to form a more perfect union. Perfection is a status that we will never achieve, but we can come closer and closer and closer to it.\u003c/p>\n\u003cp>Look, the cities of San Francisco and Oakland are examples of this before our very eyes. I grew up during the SLA, Huey Newton and the Black Panthers, the Zodiac Killer, and Charlie Finley owning the Oakland A’s. Nothing is fixed to a level of perfection, but we are closer to a more perfect status than ever before. That’s what we can always rely on.”\u003c/p>\n\u003cp>\u003cstrong>On Weinstein and sexual assault in Hollywood\u003c/strong>:\u003c/p>\n\u003cp>“I was not surprised. I can’t say I witnessed it. But here’s the truth. There are people that go into any line of work – ours, Wall Street, whatever – because it’s fun, and because you can’t believe that someone would pay you to do something that you love. There’s people that go into it because you can make a pretty good buck at it if lightning strikes, and there’s nothing wrong with wanting a good buck; it solves a lot of problems. There’s other people that, if they can make it work, they get to have this power of celebrity, and celebrity is in charge. You can get addicted to being somebody who can get a reservation anywhere you want, or always gets cuts in line. Those are viable reasons to go into any line of work.\u003c/p>\n\u003cfigure id=\"attachment_13812684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-800x788.jpg\" alt=\"Tom Hanks and Rita Wilson attend the afterparty for 'The Circle' during the 2017 Tribeca Film Festival on April 26, 2017 in New York City. \" width=\"800\" height=\"788\" class=\"size-medium wp-image-13812684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-1020x1004.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-240x236.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-375x369.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-520x512.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks and Rita Wilson attend the afterparty for ‘The Circle’ during the 2017 Tribeca Film Festival on April 26, 2017 in New York City. \u003ccite>(Photo by Rob Kim/Getty Images for 2017 Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are, however, other people who go into it for one thing only: they want to hold power and influence over people, and they think that’s the coin of the realm. And the people who do that are kind of obvious — they demonstrate it in more than one way in the course of doing businesses with them. It doesn’t matter if you do good work or bad work, the end result, the main purchase that they’re trying to get is influence over you. There are plenty of people of every type, in every line of work, who say, “Here’s how power works. When I am in a position of power over you, I can reward you or I can punish you by whatever whim I choose. And that whim is sexual favors that I am going to demand of you. And if you don’t like those rules, get out of business, too bad, because this is the way it works. I have earned this position in order to hold sway over you.”\u003c/p>\n\u003cp>And that is sexual predatory behavior, and it is illegal, and it is cause for dismissal.\u003c/p>\n\u003cp>I don’t know how many women are here, but how many women in the workplace have experienced some form of predatory sexual behavior? [Nearly every woman in the theater claps.] That’s a lot of people. And it’s illegal.\u003c/p>\n\u003cp>I’m going to tell you that that is a portion of people, and also there are plenty people who would never do that in a million years, but that’s part of Western society. And the question is now: is everything going to change? I’m going to say yes. I think there’s going to be a sea change, and a type of discussion that’s going to be based on a code of ethics that is not an option to participate in, but is going to be a requirement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Writer and director James Toback has become the latest Hollywood figure to be hit with allegations of sexual harassment. \u003cem>The Los Angeles Times\u003c/em> reports that 38 women have claimed sexual harassment by Toback, who was Oscar-nominated for writing the 1991 film \u003cem>Bugsy\u003c/em>, starring Warren Beatty.\u003c/p>\n\u003cp>The \u003cem>Times\u003c/em> \u003ca href=\"http://beta.latimes.com/entertainment/la-et-mn-james-toback-sexual-harassment-allegations-20171018-story.html#nt=oft12aH-1gp2\">reports\u003c/a>: “He prowled the streets of Manhattan looking for attractive young women, usually in their early 20s, sometimes college students, on occasion a high schooler. He approached them in Central Park, standing in line at a bank or drug store or at a copy center while they worked on their resumes.”\u003c/p>\n\u003cp>He would drop names and titles of movies he’d worked on, according to the newspaper, which adds: “Then, in a hotel room, a movie trailer, a public park, meetings framed as interviews or auditions quickly turned sexual, according to 38 women who, in separate interviews told the Los Angeles Times of similar encounters they had with Toback.”\u003c/p>\n\u003cp>Toback, 72, has denied the allegations, saying he never met any of the women who have accused him, or if he did, it “was for five minutes and (I) have no recollection,” according to the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>The newspaper\u003cem> \u003c/em>says 31 of the 38 women who made accusations against Toback agreed to do so on the record. They include Louise Post, guitarist and vocalist for the band \u003ca href=\"http://www.npr.org/2015/07/02/418654442/first-listen-veruca-salt-ghost-notes\">Veruca Salt\u003c/a> and Terri Conn from the television soap opera \u003cem>As the World Turns.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The latest allegations come close on the heels of those against producer Harvey Weinstein, who is accused of sexually assaulting and harassing at least three dozen women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As The Associated Press notes: “Though less widely known than Weinstein, Toback has had a successful four-decade career in Hollywood and has a devoted following who have praised him for his originality and outsized, deeply flawed characters.” \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=Hollywood+Director+James+Toback+Accused+Of+Harassment+By+Dozens+Of+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Oh, the horror! The Dodgers are in the World Series! Well, there are worse catastrophes, you know. 2017 has been so calamitous that I fear even Halloween won’t be able to collect and dispel all of our nightmares. Still, pick your pretty poison: Will it be Tod Browning’s \u003cem>Dracula\u003c/em> (1931) with live accompaniment by Philip Glass and the Kronos Quartet (Oct. 31 at the \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" rel=\"noopener\" target=\"_blank\">Paramount\u003c/a>)? Or John Barrymore as \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (1920) with organist Dorothy Papadakos roiling the rafters (Nov. 3 at \u003ca href=\"https://www.gracecathedral.org/events/dr-jekyll-and-mr-hyde/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a>)?\u003c/p>\n\u003cp>Those terrifying classics are immortal for a reason, but they’re rather bloodless by today’s standards. Get your gore on at the \u003ca href=\"https://www.ahith.com/?utm_campaign=holehead17&utm_medium=email&utm_source=Campaign%2BCreated%2B2017%2F10%2F10%2C%2B8%3A38%2BAM\" rel=\"noopener\" target=\"_blank\">14th Another Hole in the Head Filmfest\u003c/a> (Oct. 25-Nov. 8 at the New People Cinema) with a blood feast of cinematic depredations. Crime and money collide when U.K. mates farcically collude to dump a corpse in \u003cem>Deny Everything\u003c/em> (Oct. 27), and a femme fatale tempts her blinded-by-lust boyfriend into ripping off a rich dude in Troma Pictures alum Trent Haaga’s \u003cem>68 Kill\u003c/em> (Oct. 29). The motivations of the characters admittedly aren’t the primary appeal of the screamfests \u003cem>Halloween\u003c/em> and \u003cem>Halloween II\u003c/em> (screening Oct. 31 in horrifying black and white).\u003c/p>\n\u003cp>For your minimum daily requirement of esoteric philosophical ideas, covered with a creamy layer of pulpy scenarios and dialogue, local filmmaker Christopher Coppola is the guy. Another Hole in the Head revives his 2000 feature based on Mike Allred’s comic book, \u003cem>G-Men from Hell\u003c/em> (Nov. 6), with three short films he made at the S.F. Art Institute in the 1980s. Coppola’s movies may not scare you witless, but they will leave you fortified for whatever lies ahead.\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\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh, the horror! The Dodgers are in the World Series! Well, there are worse catastrophes, you know. 2017 has been so calamitous that I fear even Halloween won’t be able to collect and dispel all of our nightmares. Still, pick your pretty poison: Will it be Tod Browning’s \u003cem>Dracula\u003c/em> (1931) with live accompaniment by Philip Glass and the Kronos Quartet (Oct. 31 at the \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" rel=\"noopener\" target=\"_blank\">Paramount\u003c/a>)? Or John Barrymore as \u003cem>Dr. Jekyll and Mr. Hyde\u003c/em> (1920) with organist Dorothy Papadakos roiling the rafters (Nov. 3 at \u003ca href=\"https://www.gracecathedral.org/events/dr-jekyll-and-mr-hyde/\" rel=\"noopener\" target=\"_blank\">Grace Cathedral\u003c/a>)?\u003c/p>\n\u003cp>Those terrifying classics are immortal for a reason, but they’re rather bloodless by today’s standards. Get your gore on at the \u003ca href=\"https://www.ahith.com/?utm_campaign=holehead17&utm_medium=email&utm_source=Campaign%2BCreated%2B2017%2F10%2F10%2C%2B8%3A38%2BAM\" rel=\"noopener\" target=\"_blank\">14th Another Hole in the Head Filmfest\u003c/a> (Oct. 25-Nov. 8 at the New People Cinema) with a blood feast of cinematic depredations. Crime and money collide when U.K. mates farcically collude to dump a corpse in \u003cem>Deny Everything\u003c/em> (Oct. 27), and a femme fatale tempts her blinded-by-lust boyfriend into ripping off a rich dude in Troma Pictures alum Trent Haaga’s \u003cem>68 Kill\u003c/em> (Oct. 29). The motivations of the characters admittedly aren’t the primary appeal of the screamfests \u003cem>Halloween\u003c/em> and \u003cem>Halloween II\u003c/em> (screening Oct. 31 in horrifying black and white).\u003c/p>\n\u003cp>For your minimum daily requirement of esoteric philosophical ideas, covered with a creamy layer of pulpy scenarios and dialogue, local filmmaker Christopher Coppola is the guy. Another Hole in the Head revives his 2000 feature based on Mike Allred’s comic book, \u003cem>G-Men from Hell\u003c/em> (Nov. 6), with three short films he made at the S.F. Art Institute in the 1980s. Coppola’s movies may not scare you witless, but they will leave you fortified for whatever lies ahead.\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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Los Angeles Police Department is investigating Hollywood movie mogul Harvey Weinstein after an Italian model-actress alleged that he raped her at her hotel in 2013.\u003c/p>\n\u003cp>As NPR’s Mandalit Del Barco reports, “A spokesman for the LAPD says the department is interviewing a ‘potential victim’ of sexual assault by Harvey Weinstein in 2013.”\u003c/p>\n\u003cp>The allegations of sexual assault are the first reported in Los Angeles. Police in New York and London are investigating allegations that Weinstein sexually assaulted five women in those cities.\u003c/p>\n\u003cp>The Los Angeles allegations are significant because the case falls within the 10-year statute of limitations for criminal prosecution.\u003c/p>\n\u003cp>“It could ‘open the door to a prosecution if the evidence exists,’ said defense attorney Dmitry Gorin, a former L.A. sex crimes prosecutor. Until now, most of the allegations against Weinstein that could lead to criminal charges concerned incidents that are more than a decade old,” \u003ca href=\"http://www.latimes.com/local/lanow/la-fi-ct-weinstein-lapd-victim-20171019-story.html\">reported\u003c/a> the \u003cem>Los Angeles Times\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weinstein “unequivocally denied the allegations of non-consensual sex,” wrote his spokeswoman Sallie Hofmeister in a statement quoted by the \u003ca href=\"https://www.apnews.com/1766c485965d4924a3e9a25c474cc552/Los-Angeles-police-open-Weinstein-sex-assault-investigation\">Associated Press\u003c/a>.\u003c/p>\n\u003cp>The accusations were brought by a 38-year-old woman who asked not to be identified for privacy reasons, according to the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>The incident is alleged to have occurred in February 2013 at a Beverly Hills hotel. Weinstein “bullied his way into my hotel room … became very aggressive and demanding … He then dragged me to the bathroom and forcibly raped me,” she told the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>Rumors of sexual misconduct by Weinstein have circulated through Hollywood for decades. But the allegations came to wider attention through a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">article\u003c/a> published earlier this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since then more than \u003ca href=\"http://www.latimes.com/entertainment/la-et-weinstein-accusers-list-20171011-htmlstory.html\">40 women\u003c/a> have accused the movie producer of sexually harassing or raping them. \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=LAPD+Investigating+Accusation+Of+2013+Rape+By+Harvey+Weinstein&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Los Angeles Police Department is investigating Hollywood movie mogul Harvey Weinstein after an Italian model-actress alleged that he raped her at her hotel in 2013.\u003c/p>\n\u003cp>As NPR’s Mandalit Del Barco reports, “A spokesman for the LAPD says the department is interviewing a ‘potential victim’ of sexual assault by Harvey Weinstein in 2013.”\u003c/p>\n\u003cp>The allegations of sexual assault are the first reported in Los Angeles. Police in New York and London are investigating allegations that Weinstein sexually assaulted five women in those cities.\u003c/p>\n\u003cp>The Los Angeles allegations are significant because the case falls within the 10-year statute of limitations for criminal prosecution.\u003c/p>\n\u003cp>“It could ‘open the door to a prosecution if the evidence exists,’ said defense attorney Dmitry Gorin, a former L.A. sex crimes prosecutor. Until now, most of the allegations against Weinstein that could lead to criminal charges concerned incidents that are more than a decade old,” \u003ca href=\"http://www.latimes.com/local/lanow/la-fi-ct-weinstein-lapd-victim-20171019-story.html\">reported\u003c/a> the \u003cem>Los Angeles Times\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein “unequivocally denied the allegations of non-consensual sex,” wrote his spokeswoman Sallie Hofmeister in a statement quoted by the \u003ca href=\"https://www.apnews.com/1766c485965d4924a3e9a25c474cc552/Los-Angeles-police-open-Weinstein-sex-assault-investigation\">Associated Press\u003c/a>.\u003c/p>\n\u003cp>The accusations were brought by a 38-year-old woman who asked not to be identified for privacy reasons, according to the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>The incident is alleged to have occurred in February 2013 at a Beverly Hills hotel. Weinstein “bullied his way into my hotel room … became very aggressive and demanding … He then dragged me to the bathroom and forcibly raped me,” she told the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>Rumors of sexual misconduct by Weinstein have circulated through Hollywood for decades. But the allegations came to wider attention through a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">article\u003c/a> published earlier this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since then more than \u003ca href=\"http://www.latimes.com/entertainment/la-et-weinstein-accusers-list-20171011-htmlstory.html\">40 women\u003c/a> have accused the movie producer of sexually harassing or raping them. \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=LAPD+Investigating+Accusation+Of+2013+Rape+By+Harvey+Weinstein&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Man Behind All Those Behinds: 'Tom of Finland'",
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"content": "\u003cp>Near the midpoint of director Dome Karukoski’s \u003cem>Tom of Finland\u003c/em>, artist Touko Laaksonen (Pekka Strang) sits on a bench, catching up with the man who was once his superior officer when they served in the Finnish army during World War II, years before. \u003c/p>\n\u003cp>“We’ve started a motorcycle club,” he says. Pauses. “Without the motorcycles.”\u003c/p>\n\u003cp>Laaksonen would later gain international fame as Tom of Finland, producer of gleefully pornographic, if anatomically dubious, depictions of idealized men in (and, more often, out of) a variety of species of fervently fetishized, hypermasculine drag: burly construction workers, muscular soldiers, beefy cops and, especially, jacked leathermen — proud members of that aforementioned club who, lacking access to the seemingly requisite Harleys or Ducatis or Triumphs, ingeniously found other things to wrap their legs around.\u003c/p>\n\u003cp>The images Laaksonen produced carry a palpable electric charge that’s still felt today, even as much more potent stuff can be summoned from the ether with a screen-tap. There’s just something cheerfully smutty about them, a blithely innocent joy that offers a vision of a carefree (and pants-free) existence, far removed from both persecution and subcutaneous body fat. \u003c/p>\n\u003cp>https://youtu.be/TKFA4WrPlfo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But back in post-war Helsinki, where Karukoski’s film begins, young Laaksonen’s existence is far from frolicsome. It consists of furtive midnight encounters in parks and bathrooms, where he uses his explicit drawings as a combination of sexual lure and kinky calling card. The mere existence of that artwork, to say nothing of the encounters they accompany, places him in a constant state of legal and physical jeopardy. Karukoski depicts a series of police raids to evoke a time and place where gay men went about their lives both hunted and haunted.\u003c/p>\n\u003cp>The film’s first half stops along several now-familiar stations of queer cinema’s narrative cross, driven by an overriding sense of dutiful box-checking: police persecution, gay-bashing, the first stirrings of love, a gathering impatience with a culture of repression. It is to the film’s credit, however, that while it slots its lone female character — Laaksonen’s sister Kaija (Jessica Grabowsky) — into the role of a woman pining for her brother’s secret lover, the gay dancer Veli (Lauri Tilkanen), it isn’t content to stop there. Instead, the film allots her enough time and attention to emerge as a real and rounded character. Grabowsky gets to show us several of Kaija’s facets — her rejection of her brother’s sexuality; her longing for Veli; her tacit, stone-faced acceptance; her career frustrations and, ultimately, her utter disdain for her brother’s work — in a way that builds to a raw and complicated characterization.\u003c/p>\n\u003cp>The film smartly switches perspective once Laaksonen’s artwork finds its way out of Finland and into the waiting laps of an American audience. Smartly, that is, because it’s at this point that Karukoski establishes his most compelling and revelatory theme. Tom of Finland’s art did more than titillate gay men: For many, it created a world, a persona — an entire lifestyle — to adopt and eagerly evince.\u003c/p>\n\u003cp>On a trip to Los Angeles, we watch as a bewildered Laaksonen encounters the hypersexualized world of his own creation — imagine L. Frank Baum stepping into a leathery, musk-scented Oz. The film’s at its best when exploring the stark contrast between this sun-dazzled erotic playground and Finland’s dour, grayscale backrooms. (A run-in with police, for example, ends far differently in Hollywood than it did in Helsinki.) \u003c/p>\n\u003cp>Even so, a decorous restraint pervades \u003cem>Tom of Finland — which, given its subject matter, can’t help but seem puzzling; Karukoski never manages to capture the hedonistic excess of Laaksonen’s art. A viewer unfamiliar with the source material might come away from this film with the impression that the artist largely devoted himself to lightly risque illustrations of shapely male physiques, when the truth is considerably, and exultantly, filthier. \u003c/em>\u003c/p>\n\u003cp>The film only glances at Laaksonen’s embrace of fascist imagery, pays lip service to his feelings of guilt over contributing to a culture of raw sexuality that factored in the AIDS epidemic, and only-too-happily ignores his role in advancing uniform (and uniformed) notions of hilariously unrealistic male beauty that gay culture continues to internalize. Karukoski’s determination to position Laaksonen as an inviolately noble culture warrior means there’s not much room left for him to be anything else. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then, \u003cem>Tom of Finland\u003c/em> is a film about a man who devoted himself to creating perfectly flawless physical specimens. So while it may be disappointing that it so studiously rejects a warts-and-all approach to its subject — you can’t really say it’s surprising.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But back in post-war Helsinki, where Karukoski’s film begins, young Laaksonen’s existence is far from frolicsome. It consists of furtive midnight encounters in parks and bathrooms, where he uses his explicit drawings as a combination of sexual lure and kinky calling card. The mere existence of that artwork, to say nothing of the encounters they accompany, places him in a constant state of legal and physical jeopardy. Karukoski depicts a series of police raids to evoke a time and place where gay men went about their lives both hunted and haunted.\u003c/p>\n\u003cp>The film’s first half stops along several now-familiar stations of queer cinema’s narrative cross, driven by an overriding sense of dutiful box-checking: police persecution, gay-bashing, the first stirrings of love, a gathering impatience with a culture of repression. It is to the film’s credit, however, that while it slots its lone female character — Laaksonen’s sister Kaija (Jessica Grabowsky) — into the role of a woman pining for her brother’s secret lover, the gay dancer Veli (Lauri Tilkanen), it isn’t content to stop there. Instead, the film allots her enough time and attention to emerge as a real and rounded character. Grabowsky gets to show us several of Kaija’s facets — her rejection of her brother’s sexuality; her longing for Veli; her tacit, stone-faced acceptance; her career frustrations and, ultimately, her utter disdain for her brother’s work — in a way that builds to a raw and complicated characterization.\u003c/p>\n\u003cp>The film smartly switches perspective once Laaksonen’s artwork finds its way out of Finland and into the waiting laps of an American audience. Smartly, that is, because it’s at this point that Karukoski establishes his most compelling and revelatory theme. Tom of Finland’s art did more than titillate gay men: For many, it created a world, a persona — an entire lifestyle — to adopt and eagerly evince.\u003c/p>\n\u003cp>On a trip to Los Angeles, we watch as a bewildered Laaksonen encounters the hypersexualized world of his own creation — imagine L. Frank Baum stepping into a leathery, musk-scented Oz. The film’s at its best when exploring the stark contrast between this sun-dazzled erotic playground and Finland’s dour, grayscale backrooms. (A run-in with police, for example, ends far differently in Hollywood than it did in Helsinki.) \u003c/p>\n\u003cp>Even so, a decorous restraint pervades \u003cem>Tom of Finland — which, given its subject matter, can’t help but seem puzzling; Karukoski never manages to capture the hedonistic excess of Laaksonen’s art. A viewer unfamiliar with the source material might come away from this film with the impression that the artist largely devoted himself to lightly risque illustrations of shapely male physiques, when the truth is considerably, and exultantly, filthier. \u003c/em>\u003c/p>\n\u003cp>The film only glances at Laaksonen’s embrace of fascist imagery, pays lip service to his feelings of guilt over contributing to a culture of raw sexuality that factored in the AIDS epidemic, and only-too-happily ignores his role in advancing uniform (and uniformed) notions of hilariously unrealistic male beauty that gay culture continues to internalize. Karukoski’s determination to position Laaksonen as an inviolately noble culture warrior means there’s not much room left for him to be anything else. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then, \u003cem>Tom of Finland\u003c/em> is a film about a man who devoted himself to creating perfectly flawless physical specimens. So while it may be disappointing that it so studiously rejects a warts-and-all approach to its subject — you can’t really say it’s surprising.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Todd Haynes’ Queer Cinema Cousins",
"headTitle": "Now Playing! Todd Haynes’ Queer Cinema Cousins | KQED",
"content": "\u003cp>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-haynes-vachon/#more-upcoming-events-80917\" rel=\"noopener\" target=\"_blank\">Modern Cinema\u003c/a>, the three-weekend, thrice-yearly collaboration of SFFILM and SFMOMA, spotlights a contemporary filmmaker amid a delectable buffet of movies that preceded and influenced him or her. New Queer Cinema pioneer Todd Haynes and his longtime producer, Christine Vachon, are in the spotlight this month, presumably on account of their new adaptation of Brian Selznick’s 2011 time-traveling children’s book \u003cem>\u003ca href=\"https://www.sfmoma.org/event/wonderstruck/\" rel=\"noopener\" target=\"_blank\">Wonderstruck\u003c/a>\u003c/em> (screening Sunday, Oct. 22 at 3:30pm, in advance of the Oct. 27 theatrical opening). \u003c/p>\n\u003cfigure id=\"attachment_13811752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg\" alt=\"Todd Haynes, Still from 'Wonderstruck,' 2017.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13811752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Todd Haynes, Still from ‘Wonderstruck,’ 2017. \u003ccite>(Courtesy Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haynes is also represented by his TV adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/mildred-pierce/\" rel=\"noopener\" target=\"_blank\">Mildred Pierce\u003c/a>\u003c/em> (Friday, Oct. 20 at 11am), his career breakthrough, \u003cem>\u003ca href=\"https://www.sfmoma.org/event/far-heaven/\" rel=\"noopener\" target=\"_blank\">Far From Heaven\u003c/a>\u003c/em> (8:30pm), the Dylan “biography” \u003cem>\u003ca href=\"https://www.sfmoma.org/event/im-not-there/\" rel=\"noopener\" target=\"_blank\">I’m Not There\u003c/a>\u003c/em>, (Saturday, Oct. 21 at 8pm) and the uptight and gorgeous \u003cem>\u003ca href=\"https://www.sfmoma.org/event/carol/\" rel=\"noopener\" target=\"_blank\">Carol\u003c/a>\u003c/em> (Saturday, Oct. 28 at 5pm).\u003c/p>\n\u003cp>The most savory treats, from my perspective, are other filmmakers’ takes on repressed sexuality and societal indifference that reverberated with Haynes. The melodramas of Rainer Werner Fassbinder (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/ali-fear-eats-soul-chosen-todd-haynes/\" rel=\"noopener\" target=\"_blank\">Ali: Fear Eats the Soul\u003c/a>\u003c/em>, Friday, Oct. 20 at 6pm) and Douglas Sirk (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/all-heaven-allows/\" rel=\"noopener\" target=\"_blank\">All That Heaven Allows\u003c/a>\u003c/em>, Sunday, Oct. 22 at 1pm) are obvious reference points, as are the horror shows perpetrated against innocents by the hung-up monsters in Peter Jackson’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/heavenly-creatures/\" rel=\"noopener\" target=\"_blank\">Heavenly Creatures\u003c/a>\u003c/em> (Sunday, Oct. 22 at 7pm) and Kimberly Peirce’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/boys-dont-cry/\" rel=\"noopener\" target=\"_blank\">Boys Don’t Cry\u003c/a>\u003c/em> (Saturday Oct. 21 at 5pm).\u003c/p>\n\u003cfigure id=\"attachment_13811753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg\" alt=\"Douglas Sirk, Still from 'All that Heaven Allows,' 1955. \" width=\"800\" height=\"609\" class=\"size-full wp-image-13811753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-520x396.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Douglas Sirk, Still from ‘All that Heaven Allows,’ 1955. \u003ccite>(Courtesy AF Archive/Alamy Stock Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exuberant, unmitigated excess is not a hallmark of Haynes and Vachon’s work, yet their movies convey an appreciation for — or should I say envy of — people capable of such free expression. It typically manifests itself in their films as a yearning to live without inhibitions, if not without consequences. From that perspective, the inclusion of Bob Fosse’s wrenching adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/cabaret/\" rel=\"noopener\" target=\"_blank\">Cabaret\u003c/a>\u003c/em> (Saturday, Oct. 21 at 2pm) in this series makes perfect sense. Not that any excuse is necessary to revive Fosse’s brilliant 1972 musical.\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>\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-haynes-vachon/#more-upcoming-events-80917\" rel=\"noopener\" target=\"_blank\">Modern Cinema\u003c/a>, the three-weekend, thrice-yearly collaboration of SFFILM and SFMOMA, spotlights a contemporary filmmaker amid a delectable buffet of movies that preceded and influenced him or her. New Queer Cinema pioneer Todd Haynes and his longtime producer, Christine Vachon, are in the spotlight this month, presumably on account of their new adaptation of Brian Selznick’s 2011 time-traveling children’s book \u003cem>\u003ca href=\"https://www.sfmoma.org/event/wonderstruck/\" rel=\"noopener\" target=\"_blank\">Wonderstruck\u003c/a>\u003c/em> (screening Sunday, Oct. 22 at 3:30pm, in advance of the Oct. 27 theatrical opening). \u003c/p>\n\u003cfigure id=\"attachment_13811752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg\" alt=\"Todd Haynes, Still from 'Wonderstruck,' 2017.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13811752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Wonderstruck-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Todd Haynes, Still from ‘Wonderstruck,’ 2017. \u003ccite>(Courtesy Amazon Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haynes is also represented by his TV adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/mildred-pierce/\" rel=\"noopener\" target=\"_blank\">Mildred Pierce\u003c/a>\u003c/em> (Friday, Oct. 20 at 11am), his career breakthrough, \u003cem>\u003ca href=\"https://www.sfmoma.org/event/far-heaven/\" rel=\"noopener\" target=\"_blank\">Far From Heaven\u003c/a>\u003c/em> (8:30pm), the Dylan “biography” \u003cem>\u003ca href=\"https://www.sfmoma.org/event/im-not-there/\" rel=\"noopener\" target=\"_blank\">I’m Not There\u003c/a>\u003c/em>, (Saturday, Oct. 21 at 8pm) and the uptight and gorgeous \u003cem>\u003ca href=\"https://www.sfmoma.org/event/carol/\" rel=\"noopener\" target=\"_blank\">Carol\u003c/a>\u003c/em> (Saturday, Oct. 28 at 5pm).\u003c/p>\n\u003cp>The most savory treats, from my perspective, are other filmmakers’ takes on repressed sexuality and societal indifference that reverberated with Haynes. The melodramas of Rainer Werner Fassbinder (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/ali-fear-eats-soul-chosen-todd-haynes/\" rel=\"noopener\" target=\"_blank\">Ali: Fear Eats the Soul\u003c/a>\u003c/em>, Friday, Oct. 20 at 6pm) and Douglas Sirk (\u003cem>\u003ca href=\"https://www.sfmoma.org/event/all-heaven-allows/\" rel=\"noopener\" target=\"_blank\">All That Heaven Allows\u003c/a>\u003c/em>, Sunday, Oct. 22 at 1pm) are obvious reference points, as are the horror shows perpetrated against innocents by the hung-up monsters in Peter Jackson’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/heavenly-creatures/\" rel=\"noopener\" target=\"_blank\">Heavenly Creatures\u003c/a>\u003c/em> (Sunday, Oct. 22 at 7pm) and Kimberly Peirce’s \u003cem>\u003ca href=\"https://www.sfmoma.org/event/boys-dont-cry/\" rel=\"noopener\" target=\"_blank\">Boys Don’t Cry\u003c/a>\u003c/em> (Saturday Oct. 21 at 5pm).\u003c/p>\n\u003cfigure id=\"attachment_13811753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg\" alt=\"Douglas Sirk, Still from 'All that Heaven Allows,' 1955. \" width=\"800\" height=\"609\" class=\"size-full wp-image-13811753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-240x183.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-375x285.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/AllThatHeavenAllows-520x396.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Douglas Sirk, Still from ‘All that Heaven Allows,’ 1955. \u003ccite>(Courtesy AF Archive/Alamy Stock Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exuberant, unmitigated excess is not a hallmark of Haynes and Vachon’s work, yet their movies convey an appreciation for — or should I say envy of — people capable of such free expression. It typically manifests itself in their films as a yearning to live without inhibitions, if not without consequences. From that perspective, the inclusion of Bob Fosse’s wrenching adaptation of \u003cem>\u003ca href=\"https://www.sfmoma.org/event/cabaret/\" rel=\"noopener\" target=\"_blank\">Cabaret\u003c/a>\u003c/em> (Saturday, Oct. 21 at 2pm) in this series makes perfect sense. Not that any excuse is necessary to revive Fosse’s brilliant 1972 musical.\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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"content": "\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>[contextly_sidebar id=”3mOZu7REu8Hnb2yRwpwnP9Q6YkX60Hmi”]\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Florida Project' Turns A Decrepit Corner Of Orlando Into A Cinematic Playground",
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"content": "\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\u003c/p>\n\u003cp>https://youtu.be/WwQ-NH1rRT4\u003c/p>\n\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moonee’s mom, Halley (Bria Vinaite), seems barely more mature than her daughter. She has green-streaked hair and is unable to hold a job even at the local strip club. She’s not really cut out to be a mother, though she makes a general stab at being responsible by selling perfume (and sometimes her body) to tourists so she can pay their rent.\u003c/p>\n\u003cp>Halley means well, even if she can’t follow through. That’s enough to bring out the parental side of the Magic Castle’s curmudgeonly, long-suffering resident manager (Willem Dafoe), who rides herd over unruly tenants — and the occasional wayward egret — with almost alarming finesse.\u003c/p>\n\u003cp>This is Vinaite’s acting debut, and a striking one at that. Director Sean Baker found her on Instagram — he was following her account to show actors the qualities he wanted in the character. When he couldn’t find those qualities with established actors, he asked if Vinaite wanted to audition. She turned out to be a fascinating find — a fine complement to Prince’s tiny dynamo, who has the whole film riding on her tiny shoulders for quite a while.\u003c/p>\n\u003cp>\u003cem>The Florida Project\u003c/em> takes its title from the Disney organization’s in-house name for Disney World when it was still just a stack of blueprints on Uncle Walt’s desk in California. But there’s an unspoken irony in calling the film \u003cem>The Florida Project,\u003c/em> since the motels Moonee plays in have themselves devolved into housing projects.\u003c/p>\n\u003cp>That makes them fertile ground for Baker, whose reputation-making \u003cem>Tangerine\u003c/em> took place in an equally down-at-heels neighborhood in Los Angeles two years ago. Happily, the director’s aesthetic hasn’t been wrecked by his now having the money to pay for 35 mm cameras. Everything that was wonderful last time is even better here, from first-time performers who light up the screen to dialogue that is profane and \u003cem>very\u003c/em> funny for a while, then turns resonant and wrenching.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker has imbued this whole terrific movie with a child’s sense of discovery — the sort that can turn a decrepit, pastel corner of Orlando into a vibrant cinematic playground.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\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/WwQ-NH1rRT4'\n title='//www.youtube.com/embed/WwQ-NH1rRT4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moonee’s mom, Halley (Bria Vinaite), seems barely more mature than her daughter. She has green-streaked hair and is unable to hold a job even at the local strip club. She’s not really cut out to be a mother, though she makes a general stab at being responsible by selling perfume (and sometimes her body) to tourists so she can pay their rent.\u003c/p>\n\u003cp>Halley means well, even if she can’t follow through. That’s enough to bring out the parental side of the Magic Castle’s curmudgeonly, long-suffering resident manager (Willem Dafoe), who rides herd over unruly tenants — and the occasional wayward egret — with almost alarming finesse.\u003c/p>\n\u003cp>This is Vinaite’s acting debut, and a striking one at that. Director Sean Baker found her on Instagram — he was following her account to show actors the qualities he wanted in the character. When he couldn’t find those qualities with established actors, he asked if Vinaite wanted to audition. She turned out to be a fascinating find — a fine complement to Prince’s tiny dynamo, who has the whole film riding on her tiny shoulders for quite a while.\u003c/p>\n\u003cp>\u003cem>The Florida Project\u003c/em> takes its title from the Disney organization’s in-house name for Disney World when it was still just a stack of blueprints on Uncle Walt’s desk in California. But there’s an unspoken irony in calling the film \u003cem>The Florida Project,\u003c/em> since the motels Moonee plays in have themselves devolved into housing projects.\u003c/p>\n\u003cp>That makes them fertile ground for Baker, whose reputation-making \u003cem>Tangerine\u003c/em> took place in an equally down-at-heels neighborhood in Los Angeles two years ago. Happily, the director’s aesthetic hasn’t been wrecked by his now having the money to pay for 35 mm cameras. Everything that was wonderful last time is even better here, from first-time performers who light up the screen to dialogue that is profane and \u003cem>very\u003c/em> funny for a while, then turns resonant and wrenching.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker has imbued this whole terrific movie with a child’s sense of discovery — the sort that can turn a decrepit, pastel corner of Orlando into a vibrant cinematic playground.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new documentary \u003cem>Underground Under Review\u003c/em> is a “film about D.I.Y. spaces with a D.I.Y. approach.” \u003c/p>\n\u003cp>“Most of it was just me and a camera,” says Zack Bateman, an East Bay musician who is also the film’s director. \u003c/p>\n\u003cp>Bateman says that he felt compelled to the make the documentary in the wake of the December 2016 Ghost Ship fire, which claimed the lives of 36 partygoers at an underground concert in Oakland. Though Oakland Mayor Libby Schaaf issued an executive order for city officials to work cooperatively with landlords to bring other artist live-work spaces up to code, many landlords \u003ca href=\"http://www.mercurynews.com/2017/03/23/residents-in-salt-lick-warehouse-in-oakland-are-getting-evicted/\" rel=\"noopener\" target=\"_blank\">moved to evict\u003c/a> the tenants of similar makeshift warehouses, leaving artists to scramble for affordable housing in a costly market. \u003c/p>\n\u003cp>As I reported in my \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> cover story\u003c/a>, the Bay Area housing crisis was already squeezing out underground venues and live-work spaces prior to Ghost Ship. And in the aftermath of the tragedy, the D.I.Y. scenes these spaces fostered are being pushed further underground in fear of persecution. \u003c/p>\n\u003cp>https://youtu.be/6iIOn6dogKQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003cem>Underground Under Review\u003c/em>, which \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">screens on Oct. 13\u003c/a> at the Uptown Night Club in Oakland, Bateman speaks to a variety of countercultural artists and musicians, emerging with a portrait of an artistic community recovering from tragedy. Among those interviewed are veteran punk Jello Biafra; Sarah Sexton of the record label Oakland Indie Mayhem; Mykee Ramen, the owner of the now-shuttered Richmond D.I.Y. hub \u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/burnt-ramen-supporters-protest-venues-eviction-at-richmond-council-meeting/\" rel=\"noopener\" target=\"_blank\">Burnt Ramen\u003c/a>; and Jamie DeWolf, founder of the popular variety show Tourettes Without Regrets. \u003c/p>\n\u003cp>Many of the people in the film were already struggling to stay afloat as low-income artists when they lost friends in the Ghost Ship fire. According to Bateman, \u003cem>Underground Under Review\u003c/em> “shows people coming together to speak their voice and essentially speak for Oakland or the Bay Area scene in general. It [shows] that there’s people out there that give a shit and wanna help. Most of the interviews this film is compiled of, a lot of people say the same thing, which is, ‘Get involved the community, get involved in your scene and with whatever politics are going on in your area.'”\u003c/p>\n\u003cp>Bateman says he hopes the documentary can shed some light on the importance of preserving Oakland’s — and the greater Bay Area’s — vibrant artistic culture through arts advocacy and affordable housing. The reason why artists live in unsafe warehouses like Ghost Ship, he says, is because they often don’t have other options, but D.I.Y. spaces are also drivers of creativity that thrives outside of mainstream clubs and arts institutions.\u003c/p>\n\u003cp>“The reputation the Bay Area has of being this crazy, weird, artistic, creative place — in my opinion, that’s because of places like this,” Bateman says. “You can go down an alleyway and open the door and you’re in this crazy, cool place you never thought existed in the warehouse district. Not only is it a thing that’s cool to have, I think it’s also important because these places help artists hone their craft and be able to afford living.” \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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Underground Under Review’ screens at Uptown Night Club in Oakland on Friday, Oct. 13 at 8pm. For more information \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new documentary \u003cem>Underground Under Review\u003c/em> is a “film about D.I.Y. spaces with a D.I.Y. approach.” \u003c/p>\n\u003cp>“Most of it was just me and a camera,” says Zack Bateman, an East Bay musician who is also the film’s director. \u003c/p>\n\u003cp>Bateman says that he felt compelled to the make the documentary in the wake of the December 2016 Ghost Ship fire, which claimed the lives of 36 partygoers at an underground concert in Oakland. Though Oakland Mayor Libby Schaaf issued an executive order for city officials to work cooperatively with landlords to bring other artist live-work spaces up to code, many landlords \u003ca href=\"http://www.mercurynews.com/2017/03/23/residents-in-salt-lick-warehouse-in-oakland-are-getting-evicted/\" rel=\"noopener\" target=\"_blank\">moved to evict\u003c/a> the tenants of similar makeshift warehouses, leaving artists to scramble for affordable housing in a costly market. \u003c/p>\n\u003cp>As I reported in my \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" rel=\"noopener\" target=\"_blank\">\u003cem>East Bay Express\u003c/em> cover story\u003c/a>, the Bay Area housing crisis was already squeezing out underground venues and live-work spaces prior to Ghost Ship. And in the aftermath of the tragedy, the D.I.Y. scenes these spaces fostered are being pushed further underground in fear of persecution. \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/6iIOn6dogKQ'\n title='//www.youtube.com/embed/6iIOn6dogKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Underground Under Review\u003c/em>, which \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">screens on Oct. 13\u003c/a> at the Uptown Night Club in Oakland, Bateman speaks to a variety of countercultural artists and musicians, emerging with a portrait of an artistic community recovering from tragedy. Among those interviewed are veteran punk Jello Biafra; Sarah Sexton of the record label Oakland Indie Mayhem; Mykee Ramen, the owner of the now-shuttered Richmond D.I.Y. hub \u003ca href=\"https://ww2.kqed.org/arts/2016/12/21/burnt-ramen-supporters-protest-venues-eviction-at-richmond-council-meeting/\" rel=\"noopener\" target=\"_blank\">Burnt Ramen\u003c/a>; and Jamie DeWolf, founder of the popular variety show Tourettes Without Regrets. \u003c/p>\n\u003cp>Many of the people in the film were already struggling to stay afloat as low-income artists when they lost friends in the Ghost Ship fire. According to Bateman, \u003cem>Underground Under Review\u003c/em> “shows people coming together to speak their voice and essentially speak for Oakland or the Bay Area scene in general. It [shows] that there’s people out there that give a shit and wanna help. Most of the interviews this film is compiled of, a lot of people say the same thing, which is, ‘Get involved the community, get involved in your scene and with whatever politics are going on in your area.'”\u003c/p>\n\u003cp>Bateman says he hopes the documentary can shed some light on the importance of preserving Oakland’s — and the greater Bay Area’s — vibrant artistic culture through arts advocacy and affordable housing. The reason why artists live in unsafe warehouses like Ghost Ship, he says, is because they often don’t have other options, but D.I.Y. spaces are also drivers of creativity that thrives outside of mainstream clubs and arts institutions.\u003c/p>\n\u003cp>“The reputation the Bay Area has of being this crazy, weird, artistic, creative place — in my opinion, that’s because of places like this,” Bateman says. “You can go down an alleyway and open the door and you’re in this crazy, cool place you never thought existed in the warehouse district. Not only is it a thing that’s cool to have, I think it’s also important because these places help artists hone their craft and be able to afford living.” \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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Underground Under Review’ screens at Uptown Night Club in Oakland on Friday, Oct. 13 at 8pm. For more information \u003ca href=\"https://www.eventbrite.com/e/underground-under-review-a-ghost-ship-aftermath-documentary-tickets-37042985567?aff=fb\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a suspension earlier in the day from Twitter, actress Rose McGowan forcefully re-emerged Thursday, stating more frankly what she has long suggested: “HW raped me.”\u003c/p>\n\u003cp>“HW” was apparently in reference to Harvey Weinstein, the embattled former Weinstein Co. co-chairman. Weinstein representative Sallie Hofmeister did not immediately return a message seeking comment, but has said Weinstein “unequivocally denies” “any allegations of non-consensual contact.”\u003c/p>\n\u003cp>McGowan last year said that she had been raped by a “studio head.” The New Yorker expose that ran Tuesday reported that Weinstein had allegedly sexually assaulted three women, though the third woman was unnamed. The New York Times earlier reported that Weinstein paid a financial settlement of $100,000 to McGowan in 1997. That settlement included provisions about speaking about the case in the future.\u003c/p>\n\u003cp>But McGowan appeared emboldened Thursday to describe more outright her past experience with Weinstein. Shortly before a series a tweets addressed to Amazon chief Jeff Bezos, McGowan tweeted a woman warrior picture with a “Rosearmy” hashtag and stated “It’s on.”\u003c/p>\n\u003cp>“I told the head of your studio that HW raped me,” said McGowan in tweets directed to Bezos. “Over and Over I said it. He said it hadn’t been proven. I said I was the proof.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In subsequent tweets, McGowan appeared to suggest that Amazon Studios, which is overseen by Roy Price, previously dropped a project penned by McGowan after she insisted Weinstein not be involved.\u003c/p>\n\u003cp>Representatives for Amazon did not immediately comment Thursday.\u003c/p>\n\u003cp>The 44-year-old McGowan has emerged as one of the most vocal in Hollywood about sexual abuse and harassment in the industry. She has pushed for the remaining board members of The Weinstein Co. to resign in the wake of the allegations against Weinstein. She also this week called Ben Affleck “a liar” on Twitter, suggesting the actor knew about Weinstein’s conduct. (She and Affleck co-starred in 1997 \u003cem>Going All the Way\u003c/em> and 1998’s \u003cem>Phantoms\u003c/em>.)\u003c/p>\n\u003cp>Representatives for Affleck did not respond to messages regarding that allegation.\u003c/p>\n\u003cp>Considering McGowan’s stature as a central figure in the Weinstein saga, Twitter sparked an outcry across social media when it temporarily suspended McGowan from its service. The ban was lifted Thursday afternoon but not before a storm of criticism from Jessica Chastain, Anthony Bourdain and many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Twitter said Thursday that it suspended McGowan’s account because she tweeted a private phone number, a practice it said violated its service terms. The company said it will “be clearer about these policies and decisions in the future.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a suspension earlier in the day from Twitter, actress Rose McGowan forcefully re-emerged Thursday, stating more frankly what she has long suggested: “HW raped me.”\u003c/p>\n\u003cp>“HW” was apparently in reference to Harvey Weinstein, the embattled former Weinstein Co. co-chairman. Weinstein representative Sallie Hofmeister did not immediately return a message seeking comment, but has said Weinstein “unequivocally denies” “any allegations of non-consensual contact.”\u003c/p>\n\u003cp>McGowan last year said that she had been raped by a “studio head.” The New Yorker expose that ran Tuesday reported that Weinstein had allegedly sexually assaulted three women, though the third woman was unnamed. The New York Times earlier reported that Weinstein paid a financial settlement of $100,000 to McGowan in 1997. That settlement included provisions about speaking about the case in the future.\u003c/p>\n\u003cp>But McGowan appeared emboldened Thursday to describe more outright her past experience with Weinstein. Shortly before a series a tweets addressed to Amazon chief Jeff Bezos, McGowan tweeted a woman warrior picture with a “Rosearmy” hashtag and stated “It’s on.”\u003c/p>\n\u003cp>“I told the head of your studio that HW raped me,” said McGowan in tweets directed to Bezos. “Over and Over I said it. He said it hadn’t been proven. I said I was the proof.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In subsequent tweets, McGowan appeared to suggest that Amazon Studios, which is overseen by Roy Price, previously dropped a project penned by McGowan after she insisted Weinstein not be involved.\u003c/p>\n\u003cp>Representatives for Amazon did not immediately comment Thursday.\u003c/p>\n\u003cp>The 44-year-old McGowan has emerged as one of the most vocal in Hollywood about sexual abuse and harassment in the industry. She has pushed for the remaining board members of The Weinstein Co. to resign in the wake of the allegations against Weinstein. She also this week called Ben Affleck “a liar” on Twitter, suggesting the actor knew about Weinstein’s conduct. (She and Affleck co-starred in 1997 \u003cem>Going All the Way\u003c/em> and 1998’s \u003cem>Phantoms\u003c/em>.)\u003c/p>\n\u003cp>Representatives for Affleck did not respond to messages regarding that allegation.\u003c/p>\n\u003cp>Considering McGowan’s stature as a central figure in the Weinstein saga, Twitter sparked an outcry across social media when it temporarily suspended McGowan from its service. The ban was lifted Thursday afternoon but not before a storm of criticism from Jessica Chastain, Anthony Bourdain and many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Twitter said Thursday that it suspended McGowan’s account because she tweeted a private phone number, a practice it said violated its service terms. The company said it will “be clearer about these policies and decisions in the future.”\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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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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},
"pbs-newshour": {
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},
"perspectives": {
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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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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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": {
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