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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we’re talking about a Syrian wedding singer, the return of a beloved comedian, a NSFW art show, an Ethiopian jazz master, a 20th Street block party and more. Listen to the show above, or click through the links below for details.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Aug. 12 and 13\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/a-double-dose-of-filipino-culture-at-yerba-buena/\" target=\"_blank\" rel=\"noopener\">The Pistahan Filipino Festival at Yerba Buena Gardens\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/a-giant-of-ethiopian-jazz-meets-a-local-musical-ambassador/\" target=\"_blank\" rel=\"noopener\">Mulatu Astatke at the UC Theatre in Berkeley\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 17–Sept. 3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/a-double-dose-of-filipino-culture-at-yerba-buena/\" target=\"_blank\" rel=\"noopener\">The Festval of New Filipino Cinema at YBCA\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 19\u003c/strong>: \u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener\">The 20th Street Block Party in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 23–26\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/ahem-bonsoir-so-loooovely-to-see-you-dahhhling/\" target=\"_blank\" rel=\"noopener\">Scott Thompson at The Punchline in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Ending Aug. 26\u003c/strong>: \u003ca href=\"https://spoke-art.com/collections/nsfw-art-show\" target=\"_blank\" rel=\"noopener\">The NSFW Art Show at Spoke Art in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Sept. 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/09/and-now-our-favorite-syrian-wedding-singer/\" target=\"_blank\" rel=\"noopener\">Omar Souleyman at The Ritz in San Jose\u003c/a>\u003c/li>\n\u003c/ul>\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>Taylor Sheridan’s tense, terse police procedural/Western, \u003cem>Wind River\u003c/em>, begins with an icy, moonlit, Wyoming landscape. There’s no one for miles, except a gasping, Native American teenage girl running in the snow, terrified and barefoot.\u003c/p>\n\u003cp>She falls. Screams. Gets up. Runs some more.\u003c/p>\n\u003cp>Cut to bright daylight. A wolf stalking a flock of sheep. A shot rings out as this predator is felled by another: a marksman who, in his snow-camouflage gear, blends invisibly into the landscape. Cory (played by Jeremy Renner) also blends in socially, though there aren’t many folks to blend in with next to the Wind River Indian Reservation. His being close to the people there is what makes this film compelling in a genre that’s become so cut-and-dried the term “thriller” barely describes it any more.\u003c/p>\n\u003cp>Sheridan wrote \u003cem>Hell or High Water\u003c/em>, the 2016 Oscar-nominated police procedural that was also unusual for being character-based and surprising. This time, he’s sitting in the director’s chair, and he turns out to be as adept at realizing the words on a script’s page as he is at putting them there in the first place.\u003c/p>\n\u003cp>He has conceived Cory as a man of few words and enormous pain. After losing a teenage daughter, he became estranged from his Native American wife (Julia Jones) but remains devoted to both her and their son, Casey (Teo Briones). So he offers to take the boy to visit her parents on the reservation while she’s away job hunting. It’ll be an opportunity to mentor the kid about rifles (“Remember, a gun’s always loaded, even when it ain’t”), something Cory does almost without thinking, passing on skills, insights, knowledge — a trait that will soon come in handy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their trip to the “rez” involves a hunt for the mountain lion that killed a yearling on grandpa’s land, during which Cory comes across the body of the teenage girl we saw earlier, frozen in the snow.\u003c/p>\n\u003cp>FBI agent Jane Banner (Elizabeth Olson) flies in from Las Vegas. She’s dressed for cold in Vegas, notes the local sheriff (the ever-reliable Graham Greene), and about as clueless about Wyoming winters as that fact suggests. When they get to the body near the tree line, she sees evidence of foul play, but Cory, a tracker, looks at the girl’s footprints in the snow and sees a whole story unfolding. More mentoring, as he clues her in to what the clues suggest: that the girl died from an intake of icy air that froze her lungs, causing them to fill up with blood.\u003c/p>\n\u003cp>Jane wonders how far she had run. Cory looks around at the nothing in all directions before he replies: “Oh, I don’t know. How do you gauge someone’s will to live?”\u003c/p>\n\u003cp>If that sounds like dialogue from a classic Western, poetic in its sparseness, that’s by design. Sheridan makes contemporary films that for all practical purposes are Westerns, and in them he deals with a host of current social issues. His characters are pushed to extremes by circumstances — not just that girl who turns out to have run 6 miles barefoot in the snow, but also her parents (played by Native American actors Gil Birmingham and Tantoo Cardinal) and even the bad guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sheridan paints a searing picture of life on society’s margins — people who live with “silence and snow” and not much else. And if the conclusion to his film’s mystery is a bit of a rush to judgment — breathless, yes, but less breathcatchingly arresting than what’s gone before it — he’s still managed to make Renner and Olsen feel like icons while keeping them rendingly real. And that allows the sense of loss in \u003cem>Wind River\u003c/em> to pile up, deep as snow drifts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their trip to the “rez” involves a hunt for the mountain lion that killed a yearling on grandpa’s land, during which Cory comes across the body of the teenage girl we saw earlier, frozen in the snow.\u003c/p>\n\u003cp>FBI agent Jane Banner (Elizabeth Olson) flies in from Las Vegas. She’s dressed for cold in Vegas, notes the local sheriff (the ever-reliable Graham Greene), and about as clueless about Wyoming winters as that fact suggests. When they get to the body near the tree line, she sees evidence of foul play, but Cory, a tracker, looks at the girl’s footprints in the snow and sees a whole story unfolding. More mentoring, as he clues her in to what the clues suggest: that the girl died from an intake of icy air that froze her lungs, causing them to fill up with blood.\u003c/p>\n\u003cp>Jane wonders how far she had run. Cory looks around at the nothing in all directions before he replies: “Oh, I don’t know. How do you gauge someone’s will to live?”\u003c/p>\n\u003cp>If that sounds like dialogue from a classic Western, poetic in its sparseness, that’s by design. Sheridan makes contemporary films that for all practical purposes are Westerns, and in them he deals with a host of current social issues. His characters are pushed to extremes by circumstances — not just that girl who turns out to have run 6 miles barefoot in the snow, but also her parents (played by Native American actors Gil Birmingham and Tantoo Cardinal) and even the bad guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sheridan paints a searing picture of life on society’s margins — people who live with “silence and snow” and not much else. And if the conclusion to his film’s mystery is a bit of a rush to judgment — breathless, yes, but less breathcatchingly arresting than what’s gone before it — he’s still managed to make Renner and Olsen feel like icons while keeping them rendingly real. And that allows the sense of loss in \u003cem>Wind River\u003c/em> to pile up, deep as snow drifts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ah, downtown San Francisco, alive with the smell of coffee, weed, and, well, \u003ca href=\"http://www.atlasobscura.com/articles/san-francisco-was-just-subjected-to-a-mysterious-gross-smell\" target=\"_blank\" rel=\"noopener\">other things\u003c/a>. But if you’re near Yerba Buena Gardens in San Francisco on Aug. 12 or 13, you’ll probably be drawn in by the marvelous aroma of \u003cem>adobo\u003c/em> and \u003cem>lechon\u003c/em>. That’s where the free annual Pistahan Filipino Festival is taking place, with a parade down Market Street on Saturday and a soirée of Filipino food, art and music at Yerba Buena Gardens. \u003ca href=\"http://www.pistahan.net/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13804923\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Pistahan.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13804923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The parade on Market Street. \u003ccite>(via Pistahan Fetsival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, inside YBCA starting Aug. 17, there’s the \u003ca href=\"https://ybca.org/whats-on/new-filipino-cinema-2017\" target=\"_blank\" rel=\"noopener\">Festival of New Filipino Cinema\u003c/a>, which organizers are framing as a response to the current political climate — and the anxiety over the unpredictable presidents of both the U.S. and the Philippines. \u003c/p>\n\u003cp>Along with films about life under President Rodrigo Duterte, about the war on drugs and other upheavals, there’s also the festival’s opening film: \u003cem>Sunday Beauty Queen\u003c/em>, a documentary about domestic workers in Hong Kong who spend their solitary day off at the end of the working week getting dressed up, putting on makeup, and holding a beauty pageant for themselves. That’s opening night, Thursday, Aug. 17. New Filipino Cinema runs through Sept. 3 at the Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/whats-on/new-filipino-cinema-2017\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, downtown San Francisco, alive with the smell of coffee, weed, and, well, \u003ca href=\"http://www.atlasobscura.com/articles/san-francisco-was-just-subjected-to-a-mysterious-gross-smell\" target=\"_blank\" rel=\"noopener\">other things\u003c/a>. But if you’re near Yerba Buena Gardens in San Francisco on Aug. 12 or 13, you’ll probably be drawn in by the marvelous aroma of \u003cem>adobo\u003c/em> and \u003cem>lechon\u003c/em>. That’s where the free annual Pistahan Filipino Festival is taking place, with a parade down Market Street on Saturday and a soirée of Filipino food, art and music at Yerba Buena Gardens. \u003ca href=\"http://www.pistahan.net/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13804923\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Pistahan.jpg\" alt=\"\" width=\"1000\" height=\"667\" class=\"size-full wp-image-13804923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Pistahan-520x347.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">The parade on Market Street. \u003ccite>(via Pistahan Fetsival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, inside YBCA starting Aug. 17, there’s the \u003ca href=\"https://ybca.org/whats-on/new-filipino-cinema-2017\" target=\"_blank\" rel=\"noopener\">Festival of New Filipino Cinema\u003c/a>, which organizers are framing as a response to the current political climate — and the anxiety over the unpredictable presidents of both the U.S. and the Philippines. \u003c/p>\n\u003cp>Along with films about life under President Rodrigo Duterte, about the war on drugs and other upheavals, there’s also the festival’s opening film: \u003cem>Sunday Beauty Queen\u003c/em>, a documentary about domestic workers in Hong Kong who spend their solitary day off at the end of the working week getting dressed up, putting on makeup, and holding a beauty pageant for themselves. That’s opening night, Thursday, Aug. 17. New Filipino Cinema runs through Sept. 3 at the Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/whats-on/new-filipino-cinema-2017\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://thewaltdisneycompany.com/\" target=\"_blank\" rel=\"noopener\">Disney\u003c/a> is saying goodbye to \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener\">Netflix\u003c/a> and will aggressively enter the crowded subscription streaming market.\u003c/p>\n\u003cp>There will be one streaming service for sports and another for films and television shows, the \u003ca href=\"https://thewaltdisneycompany.com/walt-disney-company-acquire-majority-ownership-bamtech/\" target=\"_blank\" rel=\"noopener\">company announced\u003c/a> on Tuesday. The same day it reported weak fiscal third-quarter earnings.\u003c/p>\n\u003cp>Disney is trying to appeal to younger audiences who are choosing Netflix and other digital platforms over traditional television.\u003c/p>\n\u003cp>The streaming services will give Disney “much greater control over our own destiny in a rapidly changing market,” CEO Bob Iger told analysts on a conference call. He described the moves as an “entirely new growth strategy” for the company.\u003c/p>\n\u003cp>The sports streaming service, which will be under the ESPN name, will be available next year, and is expected to feature 10,000 sporting events annually, among them Major League Baseball, hockey and soccer games, tennis matches and college sports through ESPN’s popular mobile app.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \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=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Haruo Nakajima, the Japanese actor who was the first person to put on the Godzilla suit and bring the iconic monster to life, has died. He was 88.\u003c/p>\n\u003cp>Nakajima died Monday of pneumonia, his daughter and the Japanese movie studio Toho confirmed to multiple news outlets. Nakajima played Godzilla in the 1954 original and 11 subsequent films, donning the suit that he said weighed about 220 pounds and wreaking havoc on model cities and rival monsters.\u003c/p>\n\u003cp>But he began his career in samurai films, including a small role in Akira Kurosawa’s legendary 1954 film \u003cem>Seven Samurai\u003c/em>. “I had the samurai top-knot hairstyle, holding a sword, and I often played the guy who gets killed,” Nakajima said \u003ca href=\"https://www.greatbigstory.com/stories/the-man-who-was-godzilla\">in an interview earlier this year\u003c/a> with the Great Big Story.\u003c/p>\n\u003cp>Nakajima recounted that he got the attention of \u003cem>Godzilla\u003c/em> director Ishiro Honda on the set of a WWII film. “There was a scene where an airplane was on fire and an actor had to jump out of it. That was my role,” he said. “Mr. Honda saw this scene and thought, ‘This guy is full of energy.’ They came to see me as someone who had guts, and I think that’s why they wanted me for the role of Godzilla.”\u003c/p>\n\u003cp>In a 2004 interview with NPR, Nakajima described studying large animals at a zoo to help him prepare for the role of the lumbering reptile. “I watched the feet of an elephant and also a bear to see how a monster would move,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Htlqcz9S1Tk\u003c/p>\n\u003cp>But even after mastering the monster’s movements, the suit itself posed a major challenge. Nakajima told \u003cem>Great Big Story\u003c/em> that it was difficult to obtain rubber in the wake of World War II:\u003c/p>\n\u003cblockquote>\n\u003cp>“Since materials were so rare, things like rubber were not available. Instead, they used ready-mixed concrete, so it weighed about 100kg. It was so heavy and hot, and with the lighting, it was even hot just to touch it. I was sweating all over my face, but I did the best I could.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In the original 1954 film, Godzilla emerges from the ocean depths following a hydrogen bomb test and goes on a rampage through Tokyo.\u003c/p>\n\u003cp>The movie was released just nine years after the U.S. dropped atomic bombs on Japan. As Columbia University’s Greg Pflugfelder told NPR in 2004, “It’s very clearly embedded, a message that if they, America, and more broadly we, the free world, continue down this path of destruction in developing nuclear weaponry, who knows what the result might be?”\u003c/p>\n\u003cp>In 1962, Nakajima’s Godzilla battled King Kong in \u003cem>King Kong vs Godzilla\u003c/em>. But he later played the role of Kong in 1967’s \u003cem>King Kong Escapes. \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nuu_l24zQv4\u003c/p>\n\u003cp>And while Nakajima played some of the most recognizable roles in Japanese cinema, he told NPR that he has remained relatively anonymous.\u003c/p>\n\u003cp>“There is no impact on people when I walk the street,” Nakajima said. “I do not consider myself as a star. I thought it was going to be just one or two films.”\u003c/p>\n\u003cp>He \u003ca href=\"http://www.imdb.com/name/nm0620032/?ref_=fn_al_nm_1\">acted in some 50 films\u003c/a>, ending in 1973. \u003ca href=\"https://www.nytimes.com/2017/08/08/world/asia/godzilla-actor-haruo-nakajima-japan.html?_r=0\">According to The New York Times\u003c/a>, Nakajima “is reported to have briefly taken a job at the bowling alley on the Toho studio lot,” and later made regular appearances at comic and movie conventions.\u003c/p>\n\u003cp>The \u003cem>Godzilla\u003c/em> franchise is still going strong, the \u003cem>Times\u003c/em> reports, and “the next in the franchise will star Ken Watanabe and is scheduled for release in 2019.”\u003c/p>\n\u003cp>Special effects have largely replaced actors in monster suits, and the films’ original monsters certainly don’t appear lifelike. But author Steve Ryfle, who wrote a book about \u003cem>Godzilla \u003c/em>and its sequels, told NPR in 2004 that appearing real wasn’t really the point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think the purpose was to make something that looked spectacular,” Ryfle said, “and if you approach it from that standpoint, I think they’re very entertaining.” \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=Haruo+Nakajima%2C+The+Original+Godzilla+Actor%2C+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>One hundred years ago this week (Aug. 6), Robert Charles Durman Mitchum came into this world. He appeared in more than 25 movies between 1942, when he first stepped in front of a camera in a Hopalong Cassidy picture, and 1945, when he was nominated for the Oscar for Best Supporting Actor for \u003cem>Story of G.I. Joe\u003c/em>. The original progenitor of cool before cool was cool, Mitchum survived a marijuana bust in 1948—he liked weed, all right, but he was probably set up by a dodgy actress who needed to score points with the LAPD—and a slew of bad movies to make it into both the pantheon of American screen actors and the even more exclusive hall of 20th Century icons.\u003c/p>\n\u003cp>Mitchum could mesmerize an audience, seemingly without doing anything, as well as anyone who ever lived; he exuded the quiet confidence of a man with actual life experience who could handle himself in a fracas in an alley or a clinch in a phone booth. The \u003ca href=\"http://www.castrotheatre.com/p-list.html#aug11\" target=\"_blank\" rel=\"noopener\">Castro\u003c/a> pays tribute this weekend with the two-fisted underdog crime flick \u003cem>Thunder Road\u003c/em> (Aug. 11), the all-time-great noir \u003cem>Out of the Past\u003c/em> (co-starring a living centenarian, Kirk Douglas) and the lesser-known ’70s crime drama \u003cem>The Friends of Eddie Coyle\u003c/em> (both on Aug. 12) and the darkly menacing \u003cem>The Night of the Hunter\u003c/em> and \u003cem>Cape Fear\u003c/em> (Aug. 13). The Smith Rafael Film Center picks up the torch with \u003ca href=\"http://rafaelfilm.cafilm.org/robert-mitchum/\" target=\"_blank\" rel=\"noopener\">Mr. Mitchum: Celebrating the Centennial of Robert Mitchum\u003c/a>, a three-week run beginning Sunday with \u003cem>Out of the Past\u003c/em>. The series includes three of the Castro titles plus the largely forgotten western \u003cem>River of No Return\u003c/em> with Marilyn Monroe (Aug. 17) and David Lean’s Dingle Peninsula-set epic \u003cem>Ryan’s Daughter \u003c/em>(Sept. 3). There’s a risk in glamorizing the man, who loved looking for trouble particularly when he’d had had a few, but the actor could be sublime.\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>One hundred years ago this week (Aug. 6), Robert Charles Durman Mitchum came into this world. He appeared in more than 25 movies between 1942, when he first stepped in front of a camera in a Hopalong Cassidy picture, and 1945, when he was nominated for the Oscar for Best Supporting Actor for \u003cem>Story of G.I. Joe\u003c/em>. The original progenitor of cool before cool was cool, Mitchum survived a marijuana bust in 1948—he liked weed, all right, but he was probably set up by a dodgy actress who needed to score points with the LAPD—and a slew of bad movies to make it into both the pantheon of American screen actors and the even more exclusive hall of 20th Century icons.\u003c/p>\n\u003cp>Mitchum could mesmerize an audience, seemingly without doing anything, as well as anyone who ever lived; he exuded the quiet confidence of a man with actual life experience who could handle himself in a fracas in an alley or a clinch in a phone booth. The \u003ca href=\"http://www.castrotheatre.com/p-list.html#aug11\" target=\"_blank\" rel=\"noopener\">Castro\u003c/a> pays tribute this weekend with the two-fisted underdog crime flick \u003cem>Thunder Road\u003c/em> (Aug. 11), the all-time-great noir \u003cem>Out of the Past\u003c/em> (co-starring a living centenarian, Kirk Douglas) and the lesser-known ’70s crime drama \u003cem>The Friends of Eddie Coyle\u003c/em> (both on Aug. 12) and the darkly menacing \u003cem>The Night of the Hunter\u003c/em> and \u003cem>Cape Fear\u003c/em> (Aug. 13). The Smith Rafael Film Center picks up the torch with \u003ca href=\"http://rafaelfilm.cafilm.org/robert-mitchum/\" target=\"_blank\" rel=\"noopener\">Mr. Mitchum: Celebrating the Centennial of Robert Mitchum\u003c/a>, a three-week run beginning Sunday with \u003cem>Out of the Past\u003c/em>. The series includes three of the Castro titles plus the largely forgotten western \u003cem>River of No Return\u003c/em> with Marilyn Monroe (Aug. 17) and David Lean’s Dingle Peninsula-set epic \u003cem>Ryan’s Daughter \u003c/em>(Sept. 3). There’s a risk in glamorizing the man, who loved looking for trouble particularly when he’d had had a few, but the actor could be sublime.\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>If Barney the Dinosaur also played all five members of Voltron, he would look something like Brigsby Bear, a man in a giant teddy bear suit who stomps around against an outer-space backdrop blinking his animatronic eyes and learning lessons. \u003cem>Brigsby Bear Adventures\u003c/em> has been on the air for some time, and the substance of those lessons has evolved from simple arithmetic to advanced scientific concepts, often accompanied by a telling refrain: “Curiosity is an unnatural emotion.”\u003c/p>\n\u003cp>Before we get curious, first a warning. It’s fitting that a film about the ways entertainment can damage our psychology would be super-spoilery. There’s a giant “twist” in \u003cem>Brigsby Bear\u003c/em> that occurs shortly after the film starts, one the marketing materials have smartly chosen not to reveal. And for those who haven’t had it told to them, it’s worth going into the film completely in the dark, much like its protagonist is at the beginning.\u003c/p>\n\u003cp>But a review that only talks about the first five minutes of a movie, and labels the rest off-limits, is just stunting its reader’s maturity. So consider this a word of warning: What follows will set you free.\u003c/p>\n\u003cp>https://youtu.be/InqSiQENDYY\u003c/p>\n\u003cp>We know about Brigsby only through his number-one fan, the gawky overgrown child James Pope (\u003cem>Saturday Night Live\u003c/em>‘s Kyle Mooney), who lives in an underground bunker with parents Ted and April (Mark Hamill and Jane Adams). James never leaves the bunker, because he’s been told there’s nothing outside but danger; instead, he watches new Brigsby videos in his room via the VHS tapes that have been arriving mysteriously, like clockwork, his entire life. They’re low-rent affairs, but he’s totally satisfied, having — like Jim Carrey’s Truman in \u003cem>The Truman Show \u003c/em>— never known any other world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then one night, as James sits on the upper deck admiring the vast desert expanse, he sees flashes of red and blue in the distance: cops, finally tracking him down after a decades-long search. James soon learns that Ted and April are children’s entertainers on the lam who kidnapped him from the hospital as a baby, and that his real parents are middle-class Utahns Greg and Louise (Matt Walsh and Michaela Watkins). But once he’s back at home, meeting his surly sister (Ryan Simpkins) and being introduced to things like basketball and psychiatrists and beer, all James wants to do is cuddle up back in Brigsby’s giant bear arms, safe in the cocoon of the show that had all the answers.\u003c/p>\n\u003cfigure id=\"attachment_13788686\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/1.jpg\" alt=\"Kyle Mooney as James in 'Brigsby Bear.'\" width=\"1100\" height=\"619\" class=\"size-full wp-image-13788686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney as James in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a problem, since Ted and April were the ones making the shows, and now that they’re in prison there’s no one left who understands James’s distinct, obsessive pain. When he discovers the existence of movies, he takes it upon himself to make a movie version of \u003cem>Brigsby\u003c/em>… you know, to finally wrap up all those dangling loose ends in the mythology. It’s a while before we realize whose mythology is truly at stake.\u003c/p>\n\u003cp>Since his \u003cem>SNL\u003c/em> debut in 2013, Mooney has been stealthily perfecting the character type of a sheltered child in a gawky man’s body (not to be confused with the ribald man-child preferred by \u003cem>SNL \u003c/em>alum Adam Sandler). In \u003cem>Brigsby\u003c/em>, which Mooney co-wrote with Kevin Costello, he’s found the big-little boy he was born to play. James hides his true delusions behind a wall of impishness so high that it takes a while for us to figure out just how deep the damage goes: Unlike Brie Larson in \u003cem>Room\u003c/em> or the many real-world kidnapping nightmares, he loved his life in the bunker and has no desire to join society. The film does have jokes, but Mooney, channeling the spirit of Peter Sellers, delivers them all without even the slightest hint that he knows he’s joking.\u003c/p>\n\u003cfigure id=\"attachment_13788925\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/2.jpg\" alt=\"Still from 'Brigsby Bear.'\" width=\"729\" height=\"306\" class=\"size-full wp-image-13788925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-520x218.jpg 520w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave McCary, Mooney’s childhood buddy and an \u003cem>SNL\u003c/em> director who formerly partnered with him in the sketch comedy group Good Neighbor, directs with considerably more cinematic flair than one is used to seeing in sketch-troupe movies. The early bunker scenes combine wood-paneled-basement chic with a futurist sheen, and the rest of the cast, though mostly comedy ringers, never gets outwardly jokey — Hamill, in particular, is terrifying for how naturally he creates his parental fantasy. It’s too bad the film’s second half, in which James enlists the whole town to help him make his weird little movie, gets overly earnest and bland. Suddenly we’re watching just another \u003cem>Lars and the Real Girl \u003c/em>Sundance special about a kid and his delusions, without the dark edge of earlier, inventive scenes that hint at brainwashing and the ways television can make the viewer complacent in their own prison. (One nice touch: There’s a Brigsby “online” fan board, made up only of James and several avatars played by Ted.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, the existence of Brigsby himself opens up so many ideas that the fun comes in parsing through them after the movie ends. For example, did Ted and April create the show to entertain this kid they stole, or did they kidnap the kid to wean an audience on their ridiculously elaborate show? So maybe the film’s true genius is that it leaves us wanting the same thing James does: more time with Brigsby.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Barney the Dinosaur also played all five members of Voltron, he would look something like Brigsby Bear, a man in a giant teddy bear suit who stomps around against an outer-space backdrop blinking his animatronic eyes and learning lessons. \u003cem>Brigsby Bear Adventures\u003c/em> has been on the air for some time, and the substance of those lessons has evolved from simple arithmetic to advanced scientific concepts, often accompanied by a telling refrain: “Curiosity is an unnatural emotion.”\u003c/p>\n\u003cp>Before we get curious, first a warning. It’s fitting that a film about the ways entertainment can damage our psychology would be super-spoilery. There’s a giant “twist” in \u003cem>Brigsby Bear\u003c/em> that occurs shortly after the film starts, one the marketing materials have smartly chosen not to reveal. And for those who haven’t had it told to them, it’s worth going into the film completely in the dark, much like its protagonist is at the beginning.\u003c/p>\n\u003cp>But a review that only talks about the first five minutes of a movie, and labels the rest off-limits, is just stunting its reader’s maturity. So consider this a word of warning: What follows will set you free.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/InqSiQENDYY'\n title='//www.youtube.com/embed/InqSiQENDYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know about Brigsby only through his number-one fan, the gawky overgrown child James Pope (\u003cem>Saturday Night Live\u003c/em>‘s Kyle Mooney), who lives in an underground bunker with parents Ted and April (Mark Hamill and Jane Adams). James never leaves the bunker, because he’s been told there’s nothing outside but danger; instead, he watches new Brigsby videos in his room via the VHS tapes that have been arriving mysteriously, like clockwork, his entire life. They’re low-rent affairs, but he’s totally satisfied, having — like Jim Carrey’s Truman in \u003cem>The Truman Show \u003c/em>— never known any other world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then one night, as James sits on the upper deck admiring the vast desert expanse, he sees flashes of red and blue in the distance: cops, finally tracking him down after a decades-long search. James soon learns that Ted and April are children’s entertainers on the lam who kidnapped him from the hospital as a baby, and that his real parents are middle-class Utahns Greg and Louise (Matt Walsh and Michaela Watkins). But once he’s back at home, meeting his surly sister (Ryan Simpkins) and being introduced to things like basketball and psychiatrists and beer, all James wants to do is cuddle up back in Brigsby’s giant bear arms, safe in the cocoon of the show that had all the answers.\u003c/p>\n\u003cfigure id=\"attachment_13788686\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/1.jpg\" alt=\"Kyle Mooney as James in 'Brigsby Bear.'\" width=\"1100\" height=\"619\" class=\"size-full wp-image-13788686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney as James in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a problem, since Ted and April were the ones making the shows, and now that they’re in prison there’s no one left who understands James’s distinct, obsessive pain. When he discovers the existence of movies, he takes it upon himself to make a movie version of \u003cem>Brigsby\u003c/em>… you know, to finally wrap up all those dangling loose ends in the mythology. It’s a while before we realize whose mythology is truly at stake.\u003c/p>\n\u003cp>Since his \u003cem>SNL\u003c/em> debut in 2013, Mooney has been stealthily perfecting the character type of a sheltered child in a gawky man’s body (not to be confused with the ribald man-child preferred by \u003cem>SNL \u003c/em>alum Adam Sandler). In \u003cem>Brigsby\u003c/em>, which Mooney co-wrote with Kevin Costello, he’s found the big-little boy he was born to play. James hides his true delusions behind a wall of impishness so high that it takes a while for us to figure out just how deep the damage goes: Unlike Brie Larson in \u003cem>Room\u003c/em> or the many real-world kidnapping nightmares, he loved his life in the bunker and has no desire to join society. The film does have jokes, but Mooney, channeling the spirit of Peter Sellers, delivers them all without even the slightest hint that he knows he’s joking.\u003c/p>\n\u003cfigure id=\"attachment_13788925\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/2.jpg\" alt=\"Still from 'Brigsby Bear.'\" width=\"729\" height=\"306\" class=\"size-full wp-image-13788925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-520x218.jpg 520w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave McCary, Mooney’s childhood buddy and an \u003cem>SNL\u003c/em> director who formerly partnered with him in the sketch comedy group Good Neighbor, directs with considerably more cinematic flair than one is used to seeing in sketch-troupe movies. The early bunker scenes combine wood-paneled-basement chic with a futurist sheen, and the rest of the cast, though mostly comedy ringers, never gets outwardly jokey — Hamill, in particular, is terrifying for how naturally he creates his parental fantasy. It’s too bad the film’s second half, in which James enlists the whole town to help him make his weird little movie, gets overly earnest and bland. Suddenly we’re watching just another \u003cem>Lars and the Real Girl \u003c/em>Sundance special about a kid and his delusions, without the dark edge of earlier, inventive scenes that hint at brainwashing and the ways television can make the viewer complacent in their own prison. (One nice touch: There’s a Brigsby “online” fan board, made up only of James and several avatars played by Ted.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, the existence of Brigsby himself opens up so many ideas that the fun comes in parsing through them after the movie ends. For example, did Ted and April create the show to entertain this kid they stole, or did they kidnap the kid to wean an audience on their ridiculously elaborate show? So maybe the film’s true genius is that it leaves us wanting the same thing James does: more time with Brigsby.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "high-stakes-al-gore-inconvenient-sequel-make-documentary-drama",
"title": "High Stakes of Al Gore’s ‘Inconvenient Sequel’ Make for Documentary Drama",
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"headTitle": "High Stakes of Al Gore’s ‘Inconvenient Sequel’ Make for Documentary Drama | KQED",
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"content": "\u003cp>Eleven short years ago, multiplexes from coast to coast faced an unprecedented crisis: Moviegoers by the hundreds, moved to concrete action by \u003cem>An Inconvenient Truth\u003c/em>, had tossed their car keys into the first garbage can they saw and walked home.\u003c/p>\n\u003cp>Surely you remember Al Gore’s big screen-enhanced PowerPoint presentation about the threat of global warming. And you don’t recall the parking garages full of abandoned automobiles?\u003c/p>\n\u003cp>[contextly_sidebar id=”vkF5BjTVpQfKK27HermG9pXE3JzTLPYy”]\u003c/p>\n\u003cp>This version of history never happened, of course. And that’s my point: What is a reasonable expectation for a social-issue documentary? Can a movie actually make a quantifiable difference, no matter how impassioned and persuasive it is?\u003c/p>\n\u003cp>It’s the question of the moment because the man who devoted his life to circumnavigating the globe rallying people to his — well, humankind’s — cause (after the Supreme Court handed the Oval Office to his Republican opponent in 2000) is back in local multiplexes this Friday with \u003cem>An Inconvenient Sequel: Truth to Power\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/huX1bmfdkyA\u003c/p>\n\u003cp>“We feel like stories are capable of making change, [though] we have to be realistic of what that change looks like,” says San Francisco filmmaker Bonni Cohen (\u003cem>The Rape of Europa\u003c/em>), who co-directed \u003cem>An Inconvenient Sequel\u003c/em> with husband Jon Shenk (\u003cem>The Island President\u003c/em>). “Changing [the viewer’s] behavior, [or] looking at someone or something through a lens they might not have looked at before. Is that substantive? It’s a philosophical question every filmmaker has to ask themselves.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em>, like almost every environmental documentary — a genre, incidentally, that didn’t exist 11 years ago — aims for the sweet spot of galvanizing the viewer with the utter seriousness of the problem without reaching a tipping point of stunned hopelessness. Cohen, Shenk and Gore are extremely skilled at keeping hope alive, offering workable solutions and courses of action to head off the apocalypse. The “story” part revolves around Gore’s ceaseless educational tour, culminating with his on-the-ground (and on-the-phone) contributions to the Paris climate accord.\u003c/p>\n\u003cfigure id=\"attachment_13796551\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg\" alt=\"Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>”I think Al’s position is we’re dumping way too much pollution into the atmosphere. Every day he gets up to end the climate crisis and move the world toward more sustainable practice,” Shenk says. ”We saw that as film drama. I think Al sees it more as an activist lens. It was our job to try to figure out how to make Al’s day-to-day work into a film drama. We grew up on documentaries and features that had heroes that were up against ticking time bombs and we saw that film this way.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em> creates the illusion of a verité doc via uncommon access to Gore’s hectic travels, interactions with his staff and random encounters with everyday folks. It doesn’t hurt the film that he’s a celebrity, and people can’t resist asking for selfies with celebrities. Everyone is aware of the cause that he’s known for, and sometimes his cause has become their cause.\u003c/p>\n\u003cfigure id=\"attachment_13796545\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png\" alt=\"Audience attending Al Gore's updated presentation in Houston, TX.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1180x787.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-960x641.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-375x250.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-520x347.png 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Audience attending Al Gore’s updated presentation in Houston, TX. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the underlying basis for the scenes in which Gore speaks to groups of trainees in various countries. While these presentations serve to supply context and information to viewers of \u003cem>An Inconvenient Sequel\u003c/em>, they exist to equip highly motivated individuals with the tools to expand the environmental movement — philosophically, practically and politically — in their own communities. Al Gore may have superhuman stamina, but he isn’t Superman: He can’t be everywhere at once.\u003c/p>\n\u003cp>It’s a measure of Shenk and Cohen’s skill that they successfully camouflage and cloak what is undeniably and unequivocally, from start to finish, an advocacy film, in the globetrotting guise of a man-on-a-mission saga. The deception, which is part and parcel of the entertainment value of \u003cem>An Inconvenient Sequel\u003c/em>, is key to attracting environmental agnostics and many other paying moviegoers. Those already on board with the movement and the message will be just fine with the movie’s concluding call to action.\u003c/p>\n\u003cfigure id=\"attachment_13796544\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg\" alt=\"Smokestacks in India in 'An Inconvenient Sequel: Truth to Power.'\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13796544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Smokestacks in India in ‘An Inconvenient Sequel: Truth to Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shenk says, “One thing Bonnie and I noticed over the years of making films that touch on social issues is audiences ask, ‘What can we do? How can we get involved? What do we do with this energy?’” Cohen confirms, “We regularly met people who had seen \u003ci>An Inconvenient Truth\u003c/i> and made the decision to change their lives, and work toward a better world in the climate space – as activists, or running alternative energy companies, or politicians.”\u003c/p>\n\u003cp>The dominant good-news takeaway from \u003cem>An Inconvenient Sequel\u003c/em> is that solar power is replacing fossil fuels at a faster rate than even most optimists projected a decade ago. Gore loves to tout technology as the answer to the problem, as advances in solar engineering and efficiency drive down the price and make the equipment more widely available.\u003c/p>\n\u003cfigure id=\"attachment_13796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg\" alt=\"Al Gore and director Jon Shenk in 'An Inconvenient Sequel: Truth To Power.'\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13796552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-520x390.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore and director Jon Shenk in ‘An Inconvenient Sequel: Truth To Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It may amuse you, while you’re watching \u003cem>An Inconvenient Sequel\u003c/em>, to observe Gore’s parallel embrace of improved technology to deliver his message in person. The static graphs that dominated his PowerPoint presentations in An Inconvenient Truth have been replaced by fluid graphs and embedded video clips.\u003c/p>\n\u003cp>It’s kind of impressive, actually, how uncompromising Gore is about communicating the most current facts and realities of global warming in the best available way. Of course, the stakes are rather high, no matter how modest the goals Cohen and Shenk set for their film.\u003c/p>\n\u003cp>“If we can change hearts and minds on this issue in an incremental way, I feel we’ve succeeded,” Cohen says.\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 floatright]\u003c/p>\n\u003cp>\u003ci>‘An Inconvenient Sequel: Truth to Power’ opens in Bay Area theaters Friday, Aug. 4. For more information, \u003ca href=\"https://inconvenientsequel.tumblr.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eleven short years ago, multiplexes from coast to coast faced an unprecedented crisis: Moviegoers by the hundreds, moved to concrete action by \u003cem>An Inconvenient Truth\u003c/em>, had tossed their car keys into the first garbage can they saw and walked home.\u003c/p>\n\u003cp>Surely you remember Al Gore’s big screen-enhanced PowerPoint presentation about the threat of global warming. And you don’t recall the parking garages full of abandoned automobiles?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This version of history never happened, of course. And that’s my point: What is a reasonable expectation for a social-issue documentary? Can a movie actually make a quantifiable difference, no matter how impassioned and persuasive it is?\u003c/p>\n\u003cp>It’s the question of the moment because the man who devoted his life to circumnavigating the globe rallying people to his — well, humankind’s — cause (after the Supreme Court handed the Oval Office to his Republican opponent in 2000) is back in local multiplexes this Friday with \u003cem>An Inconvenient Sequel: Truth to Power\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/huX1bmfdkyA'\n title='//www.youtube.com/embed/huX1bmfdkyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We feel like stories are capable of making change, [though] we have to be realistic of what that change looks like,” says San Francisco filmmaker Bonni Cohen (\u003cem>The Rape of Europa\u003c/em>), who co-directed \u003cem>An Inconvenient Sequel\u003c/em> with husband Jon Shenk (\u003cem>The Island President\u003c/em>). “Changing [the viewer’s] behavior, [or] looking at someone or something through a lens they might not have looked at before. Is that substantive? It’s a philosophical question every filmmaker has to ask themselves.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em>, like almost every environmental documentary — a genre, incidentally, that didn’t exist 11 years ago — aims for the sweet spot of galvanizing the viewer with the utter seriousness of the problem without reaching a tipping point of stunned hopelessness. Cohen, Shenk and Gore are extremely skilled at keeping hope alive, offering workable solutions and courses of action to head off the apocalypse. The “story” part revolves around Gore’s ceaseless educational tour, culminating with his on-the-ground (and on-the-phone) contributions to the Paris climate accord.\u003c/p>\n\u003cfigure id=\"attachment_13796551\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg\" alt=\"Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m0kvMNr1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore with former Mayor of Tacloban City Alfred Romualdez and Typhoon Haiyan survivor Demi Raya, in the Raya family home; Tacloban City, Philippines, March 12, 2016. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>”I think Al’s position is we’re dumping way too much pollution into the atmosphere. Every day he gets up to end the climate crisis and move the world toward more sustainable practice,” Shenk says. ”We saw that as film drama. I think Al sees it more as an activist lens. It was our job to try to figure out how to make Al’s day-to-day work into a film drama. We grew up on documentaries and features that had heroes that were up against ticking time bombs and we saw that film this way.”\u003c/p>\n\u003cp>\u003cem>An Inconvenient Sequel\u003c/em> creates the illusion of a verité doc via uncommon access to Gore’s hectic travels, interactions with his staff and random encounters with everyday folks. It doesn’t hurt the film that he’s a celebrity, and people can’t resist asking for selfies with celebrities. Everyone is aware of the cause that he’s known for, and sometimes his cause has become their cause.\u003c/p>\n\u003cfigure id=\"attachment_13796545\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png\" alt=\"Audience attending Al Gore's updated presentation in Houston, TX.\" width=\"1280\" height=\"854\" class=\"size-full wp-image-13796545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-1180x787.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-960x641.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-240x160.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-375x250.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lxbFaEs1w9qsfko1_1280-520x347.png 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Audience attending Al Gore’s updated presentation in Houston, TX. \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s the underlying basis for the scenes in which Gore speaks to groups of trainees in various countries. While these presentations serve to supply context and information to viewers of \u003cem>An Inconvenient Sequel\u003c/em>, they exist to equip highly motivated individuals with the tools to expand the environmental movement — philosophically, practically and politically — in their own communities. Al Gore may have superhuman stamina, but he isn’t Superman: He can’t be everywhere at once.\u003c/p>\n\u003cp>It’s a measure of Shenk and Cohen’s skill that they successfully camouflage and cloak what is undeniably and unequivocally, from start to finish, an advocacy film, in the globetrotting guise of a man-on-a-mission saga. The deception, which is part and parcel of the entertainment value of \u003cem>An Inconvenient Sequel\u003c/em>, is key to attracting environmental agnostics and many other paying moviegoers. Those already on board with the movement and the message will be just fine with the movie’s concluding call to action.\u003c/p>\n\u003cfigure id=\"attachment_13796544\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg\" alt=\"Smokestacks in India in 'An Inconvenient Sequel: Truth to Power.'\" width=\"1280\" height=\"853\" class=\"size-full wp-image-13796544\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6lwr6Jeb1w9qsfko1_1280-520x347.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Smokestacks in India in ‘An Inconvenient Sequel: Truth to Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shenk says, “One thing Bonnie and I noticed over the years of making films that touch on social issues is audiences ask, ‘What can we do? How can we get involved? What do we do with this energy?’” Cohen confirms, “We regularly met people who had seen \u003ci>An Inconvenient Truth\u003c/i> and made the decision to change their lives, and work toward a better world in the climate space – as activists, or running alternative energy companies, or politicians.”\u003c/p>\n\u003cp>The dominant good-news takeaway from \u003cem>An Inconvenient Sequel\u003c/em> is that solar power is replacing fossil fuels at a faster rate than even most optimists projected a decade ago. Gore loves to tout technology as the answer to the problem, as advances in solar engineering and efficiency drive down the price and make the equipment more widely available.\u003c/p>\n\u003cfigure id=\"attachment_13796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg\" alt=\"Al Gore and director Jon Shenk in 'An Inconvenient Sequel: Truth To Power.'\" width=\"1280\" height=\"960\" class=\"size-full wp-image-13796552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/tumblr_oq6m08gTcL1w9qsfko1_1280-520x390.jpg 520w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Al Gore and director Jon Shenk in ‘An Inconvenient Sequel: Truth To Power.’ \u003ccite>(Courtesy of Paramount Pictures and Participant Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It may amuse you, while you’re watching \u003cem>An Inconvenient Sequel\u003c/em>, to observe Gore’s parallel embrace of improved technology to deliver his message in person. The static graphs that dominated his PowerPoint presentations in An Inconvenient Truth have been replaced by fluid graphs and embedded video clips.\u003c/p>\n\u003cp>It’s kind of impressive, actually, how uncompromising Gore is about communicating the most current facts and realities of global warming in the best available way. Of course, the stakes are rather high, no matter how modest the goals Cohen and Shenk set for their film.\u003c/p>\n\u003cp>“If we can change hearts and minds on this issue in an incremental way, I feel we’ve succeeded,” Cohen says.\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘An Inconvenient Sequel: Truth to Power’ opens in Bay Area theaters Friday, Aug. 4. For more information, \u003ca href=\"https://inconvenientsequel.tumblr.com/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To mark the broadcast premiere of PBS’ \"The Vietnam War,\" a 10-part documentary series on Sunday, Sept. 17, we’d like to hear from Californians about how this monumental conflict impacted their lives.\u003c/p>\n\u003cp>If you're a veteran who served (or a conscientious objector who didn’t), a refugee who fled, an activist who marched, an artist who created art around the conflict, an everyday person who became involved in politics because of it -- or have seen you or your family's lives otherwise affected by the conflict that tore the country apart -- we want to hear from you.\u003c/p>\n\u003cp>We’re looking for all stories about the war and its impact, and you can share your own, or as a group (a family, or with a friend). We’d also like to know if you have photos of yourself from that era -- be it in uniform, at a protest, as a refugee and more.\u003c/p>\n\u003ch4>\u003cstrong>Share your story \u003ca href=\"http://bit.ly/kqedvietnamwarform\">here\u003c/a>.\u003c/strong>\u003c/h4>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To mark the broadcast premiere of PBS’ \"The Vietnam War,\" a 10-part documentary series on Sunday, Sept. 17, we’d like to hear from Californians about how this monumental conflict impacted their lives.\u003c/p>\n\u003cp>If you're a veteran who served (or a conscientious objector who didn’t), a refugee who fled, an activist who marched, an artist who created art around the conflict, an everyday person who became involved in politics because of it -- or have seen you or your family's lives otherwise affected by the conflict that tore the country apart -- we want to hear from you.\u003c/p>\n\u003cp>We’re looking for all stories about the war and its impact, and you can share your own, or as a group (a family, or with a friend). We’d also like to know if you have photos of yourself from that era -- be it in uniform, at a protest, as a refugee and more.\u003c/p>\n\u003ch4>\u003cstrong>Share your story \u003ca href=\"http://bit.ly/kqedvietnamwarform\">here\u003c/a>.\u003c/strong>\u003c/h4>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If the truth hurts, then the new Ken Burns documentary \u003ci>The Vietnam War\u003c/i> is a kick in the stomach.\u003c/p>\n\u003cp>Burns and his co-director Lynn Novick spent 10 years making the 18-hour-long series \u003cem>The Vietnam War\u003c/em>, resulting in an extensive report on the decades-long conflict. Across 10 episodes, Burns and Novick’s lens focuses on our country’s mistakes and the horrors of modern warfare. Burns describes the work as “emotional archaeology,” and plenty of emotions are dug up throughout series: from the participants in the film, its viewers and even the filmmakers themselves.\u003c/p>\n\u003cp>“This film was exponentially more difficult and more challenging intellectually, emotionally, creatively, organizationally — just everything about it,” Novick said during an interview with both filmmakers at KQED last week. “We’re not really the same people we were 10 years ago.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3j-3Xi5BcKs\u003c/p>\n\u003cp>\u003ci>The Vietnam War\u003c/i>, which premieres on PBS in September, portrays the American government as missing the bigger picture, fatally focused on the spread of communism rather than the country’s desire for independence. The filmmakers establish this narrative in the first episode, which oscillates between France’s struggle to keep its hold on Vietnam and bloody scenes of America’s war in the same country a decade later. From the get-go, the documentary becomes frustrating for the viewer, who knows what’s going to happen but can’t do anything to stop it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s like a horror film where you see the teenager in her nightgown hearing a noise and coming out of a room, and you’re going, ‘Stay in your room. Don’t walk over there. Don’t go into the bathroom,’” Burns said.\u003c/p>\n\u003cp>Burns and Novick interviewed 80 sources for the film on a subject that scarred many, both physically or emotionally. Novick said that the reporting took a personal emotional toll, as she and Burns heard dozens of devastating stories and pored over thousands of images and hours of footage from a war that resulted in millions of civilians being killed, many of them women and children.\u003c/p>\n\u003cp>“When we’re looking at a piece of footage or a still photograph, it’s real to us. You hear the sounds, you see a child screaming — that sort of gets under your skin,” Novick said. “It’s almost hard to find words to explain how you’ve changed from just being exposed to this material, let alone trying to organize and make sense out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13792214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg\" alt=\"Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965.\" width=\"800\" height=\"563\" class=\"size-medium wp-image-13792214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965. \u003ccite>(Courtesy of AP/Horst Faas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the filmmakers were on a mission. Assisting them was the fact that enough time had passed since the conflict, and many who were affected by it at home and abroad were ready to tell their stories. They also made a concerted effort to speak with Vietnamese people on both sides of the conflict — North and South — ensuring for a more comprehensive viewpoint and moving away from most other American-centered documentaries on the war.\u003c/p>\n\u003cp>“What we need, not just in our understanding of Vietnam, but what we need right now in our understanding of ourselves, is an ability to tolerate a view that that isn’t quite our own — that’s just even a couple degrees different,” Burns said. \u003c/p>\n\u003cp>Indeed, statements from North Vietnamese soldiers prove to be the most poignant. While discussing how Americans reacted to their fellow soldiers, Viet Cong veteran Le Cong Huan notes that they “cried and held each other. When one was killed, the others stuck together.”\u003c/p>\n\u003cp>Added Cong Huan, “Americans, like Vietnamese, have a profound sense of humanity.'”\u003c/p>\n\u003cp>That humanization in the film extends to all parties involved in the war. For example, Burns and Novick said that they “obsessed” over the use of the term Viet Cong to describe the North Vietnamese army, who called themselves the National Liberation Front. Viet Cong has its origins as \u003ca href=\"https://en.wikipedia.org/wiki/Viet_Cong#Names\" target=\"_blank\" rel=\"noopener\">a derogatory term\u003c/a> meaning “Communist Traitors to Vietnam.” (They ended up using the term in the film, but not the accompanying book.)\u003c/p>\n\u003cfigure id=\"attachment_13790476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg\" alt=\"Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at 'The Vietnam War' premiere during the 2017 Tribeca Film Festival\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at ‘The Vietnam War’ premiere during the 2017 Tribeca Film Festival. \u003ccite>(Photo: Dia Dipasupil/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These past few weeks, Burns and Novick have been touring the film, showing it across the nation to critical acclaim — some publications are calling \u003ci>The Vietnam War\u003c/i> \u003ca href=\"http://www.mercurynews.com/2017/07/30/is-the-vietnam-war-ken-burns-best-work-yet/\" target=\"_blank\" rel=\"noopener\">their best work yet\u003c/a>. Novick has even expressed concern that she and Burns would never work on a project “this important ever again.” (Burns insists that they will.) \u003c/p>\n\u003cp>For now, the two are enjoying the fruits of their labor, witnessing the overwhelming impact it has an audiences all over the nation. \u003c/p>\n\u003cp>“The first time we watched the whole film in one fell swoop — over four days — with some of the people who are in it, no one could talk when it was done. People were sobbing. I was sobbing so much I had to leave the room,” Novick said.\u003c/p>\n\u003cp>“In that moment we were overcome with the fact that we had relived the war with a group of people, some of whom had been in it,” Burns said. “It was the opposite of trauma — it was catharsis.”\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>\u003ci>‘The Vietnam War,’ a new 10-part, 18-hour documentary film series directed by Ken Burns and Lynn Novick, premieres Sept. 17, 2017, on PBS stations nationwide. Check your local listings for times.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the truth hurts, then the new Ken Burns documentary \u003ci>The Vietnam War\u003c/i> is a kick in the stomach.\u003c/p>\n\u003cp>Burns and his co-director Lynn Novick spent 10 years making the 18-hour-long series \u003cem>The Vietnam War\u003c/em>, resulting in an extensive report on the decades-long conflict. Across 10 episodes, Burns and Novick’s lens focuses on our country’s mistakes and the horrors of modern warfare. Burns describes the work as “emotional archaeology,” and plenty of emotions are dug up throughout series: from the participants in the film, its viewers and even the filmmakers themselves.\u003c/p>\n\u003cp>“This film was exponentially more difficult and more challenging intellectually, emotionally, creatively, organizationally — just everything about it,” Novick said during an interview with both filmmakers at KQED last week. “We’re not really the same people we were 10 years ago.”\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/3j-3Xi5BcKs'\n title='//www.youtube.com/embed/3j-3Xi5BcKs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>The Vietnam War\u003c/i>, which premieres on PBS in September, portrays the American government as missing the bigger picture, fatally focused on the spread of communism rather than the country’s desire for independence. The filmmakers establish this narrative in the first episode, which oscillates between France’s struggle to keep its hold on Vietnam and bloody scenes of America’s war in the same country a decade later. From the get-go, the documentary becomes frustrating for the viewer, who knows what’s going to happen but can’t do anything to stop it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s like a horror film where you see the teenager in her nightgown hearing a noise and coming out of a room, and you’re going, ‘Stay in your room. Don’t walk over there. Don’t go into the bathroom,’” Burns said.\u003c/p>\n\u003cp>Burns and Novick interviewed 80 sources for the film on a subject that scarred many, both physically or emotionally. Novick said that the reporting took a personal emotional toll, as she and Burns heard dozens of devastating stories and pored over thousands of images and hours of footage from a war that resulted in millions of civilians being killed, many of them women and children.\u003c/p>\n\u003cp>“When we’re looking at a piece of footage or a still photograph, it’s real to us. You hear the sounds, you see a child screaming — that sort of gets under your skin,” Novick said. “It’s almost hard to find words to explain how you’ve changed from just being exposed to this material, let alone trying to organize and make sense out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13792214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg\" alt=\"Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965.\" width=\"800\" height=\"563\" class=\"size-medium wp-image-13792214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-1180x830.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/S3575-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Civilians huddle together after an attack by South Vietnamese forces. Dong Xoai, June 1965. \u003ccite>(Courtesy of AP/Horst Faas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the filmmakers were on a mission. Assisting them was the fact that enough time had passed since the conflict, and many who were affected by it at home and abroad were ready to tell their stories. They also made a concerted effort to speak with Vietnamese people on both sides of the conflict — North and South — ensuring for a more comprehensive viewpoint and moving away from most other American-centered documentaries on the war.\u003c/p>\n\u003cp>“What we need, not just in our understanding of Vietnam, but what we need right now in our understanding of ourselves, is an ability to tolerate a view that that isn’t quite our own — that’s just even a couple degrees different,” Burns said. \u003c/p>\n\u003cp>Indeed, statements from North Vietnamese soldiers prove to be the most poignant. While discussing how Americans reacted to their fellow soldiers, Viet Cong veteran Le Cong Huan notes that they “cried and held each other. When one was killed, the others stuck together.”\u003c/p>\n\u003cp>Added Cong Huan, “Americans, like Vietnamese, have a profound sense of humanity.'”\u003c/p>\n\u003cp>That humanization in the film extends to all parties involved in the war. For example, Burns and Novick said that they “obsessed” over the use of the term Viet Cong to describe the North Vietnamese army, who called themselves the National Liberation Front. Viet Cong has its origins as \u003ca href=\"https://en.wikipedia.org/wiki/Viet_Cong#Names\" target=\"_blank\" rel=\"noopener\">a derogatory term\u003c/a> meaning “Communist Traitors to Vietnam.” (They ended up using the term in the film, but not the accompanying book.)\u003c/p>\n\u003cfigure id=\"attachment_13790476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg\" alt=\"Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at 'The Vietnam War' premiere during the 2017 Tribeca Film Festival\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13790476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Lynn-Novick-Ken-Burns-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Lynn Novick (L) and director/producer Ken Burns speak onstage during a panel discussion at ‘The Vietnam War’ premiere during the 2017 Tribeca Film Festival. \u003ccite>(Photo: Dia Dipasupil/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These past few weeks, Burns and Novick have been touring the film, showing it across the nation to critical acclaim — some publications are calling \u003ci>The Vietnam War\u003c/i> \u003ca href=\"http://www.mercurynews.com/2017/07/30/is-the-vietnam-war-ken-burns-best-work-yet/\" target=\"_blank\" rel=\"noopener\">their best work yet\u003c/a>. Novick has even expressed concern that she and Burns would never work on a project “this important ever again.” (Burns insists that they will.) \u003c/p>\n\u003cp>For now, the two are enjoying the fruits of their labor, witnessing the overwhelming impact it has an audiences all over the nation. \u003c/p>\n\u003cp>“The first time we watched the whole film in one fell swoop — over four days — with some of the people who are in it, no one could talk when it was done. People were sobbing. I was sobbing so much I had to leave the room,” Novick said.\u003c/p>\n\u003cp>“In that moment we were overcome with the fact that we had relived the war with a group of people, some of whom had been in it,” Burns said. “It was the opposite of trauma — it was catharsis.”\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>\u003ci>‘The Vietnam War,’ a new 10-part, 18-hour documentary film series directed by Ken Burns and Lynn Novick, premieres Sept. 17, 2017, on PBS stations nationwide. Check your local listings for times.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Oakland-based filmmaker Melinda James is still, in her words, “figuring it out.” A sociologist by trade, James transitioned to filmmaking to honor a population in Oakland often relegated to statistics and academic scrutiny by scholars and researchers. With just a camcorder and the internet at her fingertips, she sought instead to celebrate the creativity and joy among the city’s underserved communities.\u003c/p>\n\u003cp>Today, in her new life as a full-time filmmaker, her work carries a sense of obligation. Her production company, \u003ca href=\"http://www.aboutherfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">About Her Films\u003c/a>, spotlights creatives from marginalized communities with an intimate, vibrant, and lucid spirit. James’ latest project, \u003ca href=\"http://whenwomendisrupt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">When Women Disrupt\u003c/a>, involves traveling with artist-activists Jessica Sabogal and \u003ca href=\"https://www.instagram.com/tlynnfaz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tatyana Fazlalizadeh\u003c/a> in the rural Southwest for two weeks to facilitate a willful, difficult dialogue about anti-Blackness, misogyny and xenophobia in states that voted for a leader who embodies much of these issues. It’s a unique form of revolution, and one that she hopes will give rise to a more equitable future.\u003c/p>\n\u003cp>We talked to James about coming-out narratives, Ursula from \u003cem>The Little Mermaid\u003c/em>, and the value of cinema in social justice.\u003c/p>\n\u003cp>https://youtu.be/6o0SU04_eIc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What does the name of the production company you founded, About Her Films, represent for you and your work?\u003c/strong>\u003c/p>\n\u003cp>It’s open to interpretation. I’m so curious when people ask me about this. It’s like “Oh, it’s you!” It’s “About Her,” it’s all about you. And that’s one way. But for me, it’s about representing any woman in your life. Whenever there’s an opportunity that comes up where I can work with women, showcase women, folks of color, and other underrepresented groups, okay, I’ll do it all. I’ll be it all.\u003c/p>\n\u003cp>If I could just hang out with people that I think are very talented and are doing something for their communities — for the world — if I could just hang out and document that, that would be it. I would love that. I’m so amazed at the process of creativity, and I feel like I’m a vehicle for either someone’s vision or if I see someone who’s doing really good work, and I want to showcase that. It’s a privilege to represent Oakland in an authentic, positive, and well-meaning way.\u003c/p>\n\u003cp>\u003cstrong>One of your most compelling projects to date was “\u003ca href=\"http://aboutherfilms.com/When-Women-Disrupt\">When Women Disrupt\u003c/a>” a tour you went on with artists Jessica Sabogal and Tatyana Fazlalizadeh. Can you talk a bit about that experience and what that meant for you?\u003c/strong>\u003c/p>\n\u003cp>It was really amazing. Just imagine being on the road with two of your highly talented friends, and you just get to see them work. You get to see what goes into that process, and you get to hang out, and you get to be a part of that, and you’re road-tripping through some of the most beautiful parts of America. It’s a little conflicting because those parts are not welcoming to folks of color, to women, to queer folks. And yeah, it makes you think about other places in America that you may not know about because they’re Republican, they’re conservative, because folks of color don’t belong there. It was an amazing trip.\u003c/p>\n\u003cfigure id=\"attachment_13789665\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg\" alt=\"Melinda James.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Melinda James. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a filmmaker who went through a less-than-traditional route, what inspires and informs your work?\u003c/strong>\u003c/p>\n\u003cp>A way that I keep myself pushed and inspired are finding the images that make me feel something and lend themselves to some sort of narrative, that mean something other than looking good. Anyone can make a good image, but to make an impactful image — an image that you can take now and 50, 100 years from now, that would provide some context to what was going on in that moment in time — that’s what I strive to do.\u003c/p>\n\u003cp>The things that inspire me are long projects, when people spend time with communities and other people to create this really beautiful body of work. People like Mary Ellen Mark and Gordon Parks spend years and years with people and have big, vast bodies of work. That’s what I try to use to keep myself grounded when I’m feeling impatient or when I’m feeling frustrated. When I don’t feel inspired, I just remind myself that good things take time. If I spend the rest of my life to only get one good thing, I’ve done my life’s work.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot of people who talk about a shift in media representation toward inclusivity across underrepresented groups. Do you feel as if there is, indeed, a shift?\u003c/strong>\u003c/p>\n\u003cp>People are hungry for different stories, stories from different people, stories that show different representations of life, especially Black life. From what I remember as a young kid, when I was a kid, just watching all those Disney movies with my parents in the movie theater, and it was like, the damsel-in-distress, but the characters are all white. In \u003cem>The Little Mermaid,\u003c/em> you have Ursula, she’s like…you know.\u003c/p>\n\u003cp>I think about that where we are now, and you have Ava Duvernay, who’s directing \u003cem>A Wrinkle in Time,\u003c/em> and her whole cast is just very inclusive. There’s lots of really great, strong women in the media. When you think about \u003cem>Master of None\u003c/em> — that Thanksgiving episode — could you imagine seeing something like that 15 years ago? A coming out story about a Black, queer woman? Although it’s still white, it’s still male, there are avenues to make sure that we are represented and that our voices are heard and respected.\u003c/p>\n\u003cp>You have an opportunity as a maker and as a creative to have a platform to talk about real issues. It’s my duty — my responsibility — to make sure that what I do with my craft not only serves me and my creative needs, but also serves other communities and voices that aren’t often heard. The more that I do this, the more I have that in mind. The idea of making something just for me, just because, seems like a waste of energy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>It’d be great if there were a way to bring everyone together and showcase all of their different work. It would just be nice to see a gallery of awesome women doing incredible work all at once. It feels like there isn’t a lot of space for it, so it’d be really nice to see people come together. I just wish that more people know about all the rad work that a lot of women are doing out there. I’d love to shout it from the rooftops.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch series page\u003c/a>, including photo galleries, interviews and videos. Do you know a Bay Area artist who is doing amazing things? We want to hear from you! \u003c/em>\u003ci>Highlight her efforts using \u003c/i>\u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\">\u003ci>#BayBrilliant\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\">\u003ci>Women to Watch\u003c/i>\u003c/a>\u003ci>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/i>\u003c/p>\n\u003cp>Oakland-based filmmaker Melinda James is still, in her words, “figuring it out.” A sociologist by trade, James transitioned to filmmaking to honor a population in Oakland often relegated to statistics and academic scrutiny by scholars and researchers. With just a camcorder and the internet at her fingertips, she sought instead to celebrate the creativity and joy among the city’s underserved communities.\u003c/p>\n\u003cp>Today, in her new life as a full-time filmmaker, her work carries a sense of obligation. Her production company, \u003ca href=\"http://www.aboutherfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">About Her Films\u003c/a>, spotlights creatives from marginalized communities with an intimate, vibrant, and lucid spirit. James’ latest project, \u003ca href=\"http://whenwomendisrupt.com/\" target=\"_blank\" rel=\"noopener noreferrer\">When Women Disrupt\u003c/a>, involves traveling with artist-activists Jessica Sabogal and \u003ca href=\"https://www.instagram.com/tlynnfaz/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tatyana Fazlalizadeh\u003c/a> in the rural Southwest for two weeks to facilitate a willful, difficult dialogue about anti-Blackness, misogyny and xenophobia in states that voted for a leader who embodies much of these issues. It’s a unique form of revolution, and one that she hopes will give rise to a more equitable future.\u003c/p>\n\u003cp>We talked to James about coming-out narratives, Ursula from \u003cem>The Little Mermaid\u003c/em>, and the value of cinema in social justice.\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/6o0SU04_eIc'\n title='//www.youtube.com/embed/6o0SU04_eIc'\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>\u003cstrong>What does the name of the production company you founded, About Her Films, represent for you and your work?\u003c/strong>\u003c/p>\n\u003cp>It’s open to interpretation. I’m so curious when people ask me about this. It’s like “Oh, it’s you!” It’s “About Her,” it’s all about you. And that’s one way. But for me, it’s about representing any woman in your life. Whenever there’s an opportunity that comes up where I can work with women, showcase women, folks of color, and other underrepresented groups, okay, I’ll do it all. I’ll be it all.\u003c/p>\n\u003cp>If I could just hang out with people that I think are very talented and are doing something for their communities — for the world — if I could just hang out and document that, that would be it. I would love that. I’m so amazed at the process of creativity, and I feel like I’m a vehicle for either someone’s vision or if I see someone who’s doing really good work, and I want to showcase that. It’s a privilege to represent Oakland in an authentic, positive, and well-meaning way.\u003c/p>\n\u003cp>\u003cstrong>One of your most compelling projects to date was “\u003ca href=\"http://aboutherfilms.com/When-Women-Disrupt\">When Women Disrupt\u003c/a>” a tour you went on with artists Jessica Sabogal and Tatyana Fazlalizadeh. Can you talk a bit about that experience and what that meant for you?\u003c/strong>\u003c/p>\n\u003cp>It was really amazing. Just imagine being on the road with two of your highly talented friends, and you just get to see them work. You get to see what goes into that process, and you get to hang out, and you get to be a part of that, and you’re road-tripping through some of the most beautiful parts of America. It’s a little conflicting because those parts are not welcoming to folks of color, to women, to queer folks. And yeah, it makes you think about other places in America that you may not know about because they’re Republican, they’re conservative, because folks of color don’t belong there. It was an amazing trip.\u003c/p>\n\u003cfigure id=\"attachment_13789665\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13789665\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg\" alt=\"Melinda James.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/melida-edited-1-new-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Melinda James. \u003ccite>(Photo: Christina Campbell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As a filmmaker who went through a less-than-traditional route, what inspires and informs your work?\u003c/strong>\u003c/p>\n\u003cp>A way that I keep myself pushed and inspired are finding the images that make me feel something and lend themselves to some sort of narrative, that mean something other than looking good. Anyone can make a good image, but to make an impactful image — an image that you can take now and 50, 100 years from now, that would provide some context to what was going on in that moment in time — that’s what I strive to do.\u003c/p>\n\u003cp>The things that inspire me are long projects, when people spend time with communities and other people to create this really beautiful body of work. People like Mary Ellen Mark and Gordon Parks spend years and years with people and have big, vast bodies of work. That’s what I try to use to keep myself grounded when I’m feeling impatient or when I’m feeling frustrated. When I don’t feel inspired, I just remind myself that good things take time. If I spend the rest of my life to only get one good thing, I’ve done my life’s work.\u003c/p>\n\u003cp>\u003cstrong>There’s a lot of people who talk about a shift in media representation toward inclusivity across underrepresented groups. Do you feel as if there is, indeed, a shift?\u003c/strong>\u003c/p>\n\u003cp>People are hungry for different stories, stories from different people, stories that show different representations of life, especially Black life. From what I remember as a young kid, when I was a kid, just watching all those Disney movies with my parents in the movie theater, and it was like, the damsel-in-distress, but the characters are all white. In \u003cem>The Little Mermaid,\u003c/em> you have Ursula, she’s like…you know.\u003c/p>\n\u003cp>I think about that where we are now, and you have Ava Duvernay, who’s directing \u003cem>A Wrinkle in Time,\u003c/em> and her whole cast is just very inclusive. There’s lots of really great, strong women in the media. When you think about \u003cem>Master of None\u003c/em> — that Thanksgiving episode — could you imagine seeing something like that 15 years ago? A coming out story about a Black, queer woman? 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"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
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