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"content": "\u003cp>Just a few days after director David Lowery finished shooting Disney’s live-action \u003cem>Pete’s Dragon\u003c/em>, he started a project that could hardly have been more different — the micro-budget, quietly revelatory, poetic, meditative, and aptly titled \u003cem>A Ghost Story\u003c/em>.\u003c/p>\n\u003cp>Lowery shot in secret and very quickly. His setting, an entirely unremarkable suburban rambler that was slated for demolition, which allowed him to destroy it when necessary, and his chief storytelling device a childlike representation of a ghost — a figure draped in a white bedsheet.\u003c/p>\n\u003cp>His two leads — a married couple, known only as “C” and “M” — are played by Casey Affleck and Rooney Mara, who’d starred in his \u003cem>Ain’t Them Bodies Saints\u003c/em> a few years back, and who have an easy rapport that was probably essential to filming on a short shoot.\u003c/p>\n\u003cp>Affleck’s C is quiet, a composer who’s better at expressing himself in music than in words. Mara’s M seems more comfortable saying what she’s feeling, but she gets very little bounce from her spouse. She wants to move, he’s attached for some unfathomable reason to the house. She loves him, and he, her, but their relationship is difficult. And then, abruptly, he dies in an auto accident just yards from the house. At the hospital morgue, M says her goodbyes, and leaves the body on its slab, in stillness.\u003c/p>\n\u003cp>When no one’s around, C leaves too. He sits up on the slab, still covered by a sheet, looking for all the world like a Halloween costume with black holes for eyes. A ghost-in-ghost’s-clothing, he begins to wander the crowded halls of the hospital unnoticed. A portal opens — a chance to move toward the light — but instead, C returns to the house he didn’t want to leave, to be with his grieving wife.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>M does grieve — sorting through their possessions with eyes brimming, stress-eating an entire pie in one harrowing, uninterrupted take, listening to C’s music, all with the ghost of C unseen, but ever in a corner of the frame.\u003c/p>\n\u003cp>And then, as she must, M moves on. She packs, looks around one last time, and drives away. C’s ghost can’t. He’s bound to this spot, through years, through other residents, even when the home is torn down, gradually slipping away from this world, until he’s entirely unmoored in time…but still stuck.\u003c/p>\n\u003cp>Director David Lowery started out as a film editor, and you could make the case that \u003cem>A Ghost Story\u003c/em> proves what good editing can do on its own. After three years spent making an effects-heavy Disney epic, this almost amounts to a cinematic cleanse. $100,000 budget, tiny cast, finished in a couple of weeks with no effects, almost no dialogue — except for one scene where some partying grad students take up residence in C’s house, and are stoned enough to articulate what you imagine a ghost might be thinking.\u003c/p>\n\u003cp>“We build our legacy piece by piece,” says one, “and maybe the whole world will remember you, or maybe just a couple of people, but you do what you can to make sure you’re still around after you’re gone.”\u003c/p>\n\u003cp>I should mention that the film is virtually without plot, so it requires some patience. Major stars and that title notwithstanding, \u003cem>A Ghost Story\u003c/em> is not a Saturday-night date movie. More a provocative art film in the European sense. Though barely 87 minutes, it unfolds in long, static shots, most of them without faces to hang onto. It’s almost a film without genre, and by the end it’s become a story untethered from time itself.\u003c/p>\n\u003cp>Still, it manages to be achingly intimate, and somehow optimistic. A meditation on loss but also on legacy — on our enduring need to endure. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We all hope to leave something behind — children, memories, a monument of some sort. Lowery will leave \u003cem>A Ghost Story\u003c/em>. And if my own experience is any indication, it will linger.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>M does grieve — sorting through their possessions with eyes brimming, stress-eating an entire pie in one harrowing, uninterrupted take, listening to C’s music, all with the ghost of C unseen, but ever in a corner of the frame.\u003c/p>\n\u003cp>And then, as she must, M moves on. She packs, looks around one last time, and drives away. C’s ghost can’t. He’s bound to this spot, through years, through other residents, even when the home is torn down, gradually slipping away from this world, until he’s entirely unmoored in time…but still stuck.\u003c/p>\n\u003cp>Director David Lowery started out as a film editor, and you could make the case that \u003cem>A Ghost Story\u003c/em> proves what good editing can do on its own. After three years spent making an effects-heavy Disney epic, this almost amounts to a cinematic cleanse. $100,000 budget, tiny cast, finished in a couple of weeks with no effects, almost no dialogue — except for one scene where some partying grad students take up residence in C’s house, and are stoned enough to articulate what you imagine a ghost might be thinking.\u003c/p>\n\u003cp>“We build our legacy piece by piece,” says one, “and maybe the whole world will remember you, or maybe just a couple of people, but you do what you can to make sure you’re still around after you’re gone.”\u003c/p>\n\u003cp>I should mention that the film is virtually without plot, so it requires some patience. Major stars and that title notwithstanding, \u003cem>A Ghost Story\u003c/em> is not a Saturday-night date movie. More a provocative art film in the European sense. Though barely 87 minutes, it unfolds in long, static shots, most of them without faces to hang onto. It’s almost a film without genre, and by the end it’s become a story untethered from time itself.\u003c/p>\n\u003cp>Still, it manages to be achingly intimate, and somehow optimistic. A meditation on loss but also on legacy — on our enduring need to endure. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We all hope to leave something behind — children, memories, a monument of some sort. Lowery will leave \u003cem>A Ghost Story\u003c/em>. And if my own experience is any indication, it will linger.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The last time Bill Morrison’s delicate, mesmerizing excavations of silent movies graced a local screen, the Kronos Quartet provided live accompaniment. Those fortunate enough to catch that wrenching presentation of unseen and essentially lost World War I footage (\u003cem>Beyond Zero: 1914–1918\u003c/em>, shown at the 2015 S.F. International Film Festival) were transported to a faraway world.\u003c/p>\n\u003cfigure id=\"attachment_13627342\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-160x107.jpg\" alt=\"One of the many reels of the Dawson City Collection recovered in 1978.\" width=\"320\" height=\"214\" class=\"size-thumbnail wp-image-13627342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-520x346.jpg 520w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">One of the many reels of the Dawson City Collection recovered in 1978. \u003ccite>(Courtesy Kathy Jones Gates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morrison pulls off a similar trick with his latest reverential journey into cinema’s bewitching past. \u003cem>Dawson City: Frozen Time\u003c/em> debuted last fall at the Venice and New York film festivals and arrives July 14 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/dawson-city-frozen-time/?instance_id=20969\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> for a week. It draws on hundreds of reels of silent 35mm film from the 1910s and 1920s that made their final theatrical stop in Dawson City, in the Yukon Territory, before being shelved and eventually buried — and were unexpectedly unearthed and rediscovered, frozen and largely preserved, in the late 1970s. Dawson City’s Gold Rush-fueled boom and bust comprises a fascinating segment of the documentary, but Morrison is most in thrall to the celluloid vestiges flickering at us from a century ago.\u003c/p>\n\u003cp>Movies are time capsules, in every sense of the phrase. If you’re of a temperament or in a mood to contemplate the lives and mores of those who preceded us on this mortal coil, \u003cem>Dawson City: Frozen in Time\u003c/em> is a true treat. If you find yourself mulling what strangers a century from now will make of your digital archive of selfies, so much the better.\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>\u003cem>‘Dawson City: Frozen Time’ screens July 14–20 at the Roxie Theater in San Francisco. \u003ca href=\"http://www.roxie.com/ai1ec_event/dawson-city-frozen-time/?instance_id=20969\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last time Bill Morrison’s delicate, mesmerizing excavations of silent movies graced a local screen, the Kronos Quartet provided live accompaniment. Those fortunate enough to catch that wrenching presentation of unseen and essentially lost World War I footage (\u003cem>Beyond Zero: 1914–1918\u003c/em>, shown at the 2015 S.F. International Film Festival) were transported to a faraway world.\u003c/p>\n\u003cfigure id=\"attachment_13627342\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-160x107.jpg\" alt=\"One of the many reels of the Dawson City Collection recovered in 1978.\" width=\"320\" height=\"214\" class=\"size-thumbnail wp-image-13627342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Dawson.INLINE-520x346.jpg 520w\" sizes=\"(max-width: 320px) 100vw, 320px\">\u003cfigcaption class=\"wp-caption-text\">One of the many reels of the Dawson City Collection recovered in 1978. \u003ccite>(Courtesy Kathy Jones Gates)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morrison pulls off a similar trick with his latest reverential journey into cinema’s bewitching past. \u003cem>Dawson City: Frozen Time\u003c/em> debuted last fall at the Venice and New York film festivals and arrives July 14 at the \u003ca href=\"http://www.roxie.com/ai1ec_event/dawson-city-frozen-time/?instance_id=20969\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> for a week. It draws on hundreds of reels of silent 35mm film from the 1910s and 1920s that made their final theatrical stop in Dawson City, in the Yukon Territory, before being shelved and eventually buried — and were unexpectedly unearthed and rediscovered, frozen and largely preserved, in the late 1970s. Dawson City’s Gold Rush-fueled boom and bust comprises a fascinating segment of the documentary, but Morrison is most in thrall to the celluloid vestiges flickering at us from a century ago.\u003c/p>\n\u003cp>Movies are time capsules, in every sense of the phrase. If you’re of a temperament or in a mood to contemplate the lives and mores of those who preceded us on this mortal coil, \u003cem>Dawson City: Frozen in Time\u003c/em> is a true treat. If you find yourself mulling what strangers a century from now will make of your digital archive of selfies, so much the better.\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>\u003cem>‘Dawson City: Frozen Time’ screens July 14–20 at the Roxie Theater in San Francisco. \u003ca href=\"http://www.roxie.com/ai1ec_event/dawson-city-frozen-time/?instance_id=20969\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The photo is haunting. Among a number of figures gathered on a dock, the fuzzy image seems to be that of a woman, her back to the camera, gazing at what may be her crippled aircraft loaded on a barge, and perhaps wondering what her future might hold.\u003c/p>\n\u003cp>Is this Amelia Earhart, the world-famous aviator, witnessed after her mysterious disappearance while attempting the first round-the-world flight 80 years ago this month?\u003c/p>\n\u003cp>That is the theory put forth in \u003cem>Amelia Earhart: The Lost Evidence\u003c/em>, a two-hour documentary airing Sunday on the History channel. It uncovers records, including this newly revealed photograph that shows what may be a healthy Earhart along with her navigator Fred Noonan, after they were last heard from.\u003c/p>\n\u003cp>The film also argues that after the pair crash-landed in the Japanese-held Marshall Islands, they were picked up by the Japanese military and that Earhart, perhaps presumed to be a U.S. spy, was held prisoner.\u003c/p>\n\u003cp>And there’s more: the United States government knew of her whereabouts and did nothing to rescue her, according to the film.\u003c/p>\n\u003cfigure id=\"attachment_13594146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg\" alt=\"Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \" width=\"800\" height=\"622\" class=\"size-medium wp-image-13594146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1180x918.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-960x747.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \u003ccite>(Courtesy of the National Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The disappearance of Earhart and Noonan on July 2, 1937, in the Western Pacific Ocean has gained legendary status among the age’s unsolved mysteries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By then she had already logged numerous aviation feats, including that of being the first woman to fly solo across the Atlantic Ocean in 1932. She reigned as an international hero.\u003c/p>\n\u003cp>And yet the U.S. government closed the book on its investigation just two weeks after her disappearance. Its vaguely worded findings were inconclusive.\u003c/p>\n\u003cp>Was there a cover-up? The film proposes there was.\u003c/p>\n\u003cp>The documentary is hosted by former FBI Executive Assistant Director Shawn Henry, whose fascination with the case is equaled by former U.S. Treasury Agent Les Kinney, who discovered the photo hidden and mislabeled in the U.S. National Archives.\u003c/p>\n\u003cp>In the documentary, that photo is subjected to facial-recognition and other forensic testing. It is judged authentic, and likely that of Earhart and Noonan.\u003c/p>\n\u003cp>The film also displays plane parts found in an uninhabited island of the Marshall Islands by Earhart investigator Dick Spink that are consistent with the aircraft that Earhart was flying on her round-the-world attempt. And it hears from the last living eyewitness who claims to have seen Earhart and Noonan after their crash.\u003c/p>\n\u003cp>The documentary tells of “a world-famous aviator who got caught up in an international dispute, was abandoned by her own government, and made the ultimate sacrifice,” Henry sums up. “She may very well be the first casualty of World War II.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>_____\u003cbr>\nOnline: http://www.history.com/specials/amelia-earhart-the-lost-evidence\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The photo is haunting. Among a number of figures gathered on a dock, the fuzzy image seems to be that of a woman, her back to the camera, gazing at what may be her crippled aircraft loaded on a barge, and perhaps wondering what her future might hold.\u003c/p>\n\u003cp>Is this Amelia Earhart, the world-famous aviator, witnessed after her mysterious disappearance while attempting the first round-the-world flight 80 years ago this month?\u003c/p>\n\u003cp>That is the theory put forth in \u003cem>Amelia Earhart: The Lost Evidence\u003c/em>, a two-hour documentary airing Sunday on the History channel. It uncovers records, including this newly revealed photograph that shows what may be a healthy Earhart along with her navigator Fred Noonan, after they were last heard from.\u003c/p>\n\u003cp>The film also argues that after the pair crash-landed in the Japanese-held Marshall Islands, they were picked up by the Japanese military and that Earhart, perhaps presumed to be a U.S. spy, was held prisoner.\u003c/p>\n\u003cp>And there’s more: the United States government knew of her whereabouts and did nothing to rescue her, according to the film.\u003c/p>\n\u003cfigure id=\"attachment_13594146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg\" alt=\"Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \" width=\"800\" height=\"622\" class=\"size-medium wp-image-13594146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1180x918.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-960x747.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \u003ccite>(Courtesy of the National Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The disappearance of Earhart and Noonan on July 2, 1937, in the Western Pacific Ocean has gained legendary status among the age’s unsolved mysteries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By then she had already logged numerous aviation feats, including that of being the first woman to fly solo across the Atlantic Ocean in 1932. She reigned as an international hero.\u003c/p>\n\u003cp>And yet the U.S. government closed the book on its investigation just two weeks after her disappearance. Its vaguely worded findings were inconclusive.\u003c/p>\n\u003cp>Was there a cover-up? The film proposes there was.\u003c/p>\n\u003cp>The documentary is hosted by former FBI Executive Assistant Director Shawn Henry, whose fascination with the case is equaled by former U.S. Treasury Agent Les Kinney, who discovered the photo hidden and mislabeled in the U.S. National Archives.\u003c/p>\n\u003cp>In the documentary, that photo is subjected to facial-recognition and other forensic testing. It is judged authentic, and likely that of Earhart and Noonan.\u003c/p>\n\u003cp>The film also displays plane parts found in an uninhabited island of the Marshall Islands by Earhart investigator Dick Spink that are consistent with the aircraft that Earhart was flying on her round-the-world attempt. And it hears from the last living eyewitness who claims to have seen Earhart and Noonan after their crash.\u003c/p>\n\u003cp>The documentary tells of “a world-famous aviator who got caught up in an international dispute, was abandoned by her own government, and made the ultimate sacrifice,” Henry sums up. “She may very well be the first casualty of World War II.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>_____\u003cbr>\nOnline: http://www.history.com/specials/amelia-earhart-the-lost-evidence\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watching Foreign Movies is Illegal in North Korea, But Some Do It Anyway",
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"content": "\u003cp>When Yeonmi Park was a young girl in North Korea’s Ryanggang Province, near the Chinese border, she went to her uncle’s house to watch TV. But this wasn’t the usual state-run broadcast praising the “Dear Leader.” The movie she watched at her uncle’s house was illegal.\u003c/p>\n\u003cp>She covered the windows with blankets, turned the volume down low and huddled in close around the TV. She watched a pirated copy of \u003cem>Titanic\u003c/em>.\u003c/p>\n\u003cp>“When I saw that movie for the first time, I was very confused,” Park says. “I never heard my father telling my mother that he loved her. And my mother never told me she loved me, either. To me, love was only expressed [for] the Dear Leader. So, it was a very odd concept to me — how can a man die for a woman?”\u003c/p>\n\u003cp>By the time Park, now 23, escaped North Korea in 2007, she’d seen James Bond films, South Korean dramas — even American wrestling matches.\u003c/p>\n\u003cp>“Just for a couple of hours, you forget about how life is so hard,” says Park, who now lives in the U.S. “Almost dreaming about a different planet.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Park’s experience doesn’t reflect the North Korea we think we know — and her story is not unique.\u003c/p>\n\u003cp>We see a country in isolation, but in today’s society, even the most repressive regime can’t keep everything out.\u003c/p>\n\u003cp>“The idea that North Korea is an information black hole is simply not true anymore,” says James Pearson, a reporter for Reuters in South Korea and co-author of the 2015 book \u003cem>North Korea Confidential\u003c/em>.\u003c/p>\n\u003cp>Pearson says illicit media undermines the Pyongyang regime because even Hollywood movies like \u003cem>Titanic \u003c/em>can be subversive\u003cem>.\u003c/em>\u003c/p>\n\u003cp>“That can start to change people’s thinking,” he says. “When you talk to defectors who’ve left the country, many of them say, ‘It was looking at foreign media that started to help me question what it is that I hear from the government. Perhaps things aren’t OK here.’ ”\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.intermedia.org/wp-content/uploads/2017/02/Compromising-Connectivity-Final-Report_Soft-Copy.pdf\">a recent report by the Washington-based research group InterMedia\u003c/a>, “media devices such as televisions and DVD players have reached near ubiquity in North Korea, with access and ownership a common phenomenon across nearly all demographic, socio-economic and political class divides.” In Intermedia’s survey of a group of 350 North Korean defectors, refugees and travelers, 92 percent said they watched foreign content on a DVD player.\u003c/p>\n\u003cp>\u003cstrong>“You can find anything but a cat’s horn”\u003c/strong>\u003c/p>\n\u003cp>To understand how illicit media reaches such a closed-off society, you have to look to the mid-1990s. The fall of the Soviet Union crushed North Korea’s fragile economy, and floods helped bring a devastating famine. The North Korean government failed to feed its people.\u003c/p>\n\u003cp>In that time of crisis, when North Koreans could no longer rely on the state, signs of grass-roots capitalism emerged, Pearson says. Makeshift stands popped up around the country, where people traded goods and food.\u003c/p>\n\u003cp>“During the famine, people said that the ones who turned to capitalism and trading were the ones that survived,” Pearson says. “And that has been the real economy ever since. In a way, it’s kind of North Korea’s biggest open secret.”\u003c/p>\n\u003cp>The black market has grown, he says, because government officials benefit from it. State salaries are so low that border guards can easily be bribed. Goods flow in from China — and these days, that includes more than food.\u003c/p>\n\u003cp>“There’s a saying in North Korea,” Pearson says. “‘You can find anything but a cat’s horn.’ Meaning that if it exists, you can probably find it in the markets.”\u003c/p>\n\u003cp>Charles, a North Korean defector now in the United States, used to peddle bootleg DVDs to make money — he says he risked his life doing it.\u003c/p>\n\u003cp>NPR contacted Charles — the Americanized version of his Korean first name — through the U.S. nonprofit \u003ca href=\"http://www.libertyinnorthkorea.org/\">Liberty in North Korea\u003c/a>. We’re withholding his last name to protect relatives he left behind.\u003c/p>\n\u003cp>“One of my friend’s father was a police officer,” he says. “At midnight, he’d go out to residences and crack down on foreign media.”\u003c/p>\n\u003cp>Despite being a government official, he kept the confiscated DVDs for himself, so Charles always knew where to find the best movies. Without his friend’s father ever knowing, Charles secretly copied the confiscated discs and redistributed them right back onto the market.\u003c/p>\n\u003cp>“I was a kid — I was 14 or 15 — so nobody would suspect me. I’d hide [DVDs] under my clothes, and some of them in my jackets, inside the pockets in the jackets,” Charles says. “Everywhere.”\u003c/p>\n\u003cp>Since Charles, now 22, left North Korea, it has become much easier to conceal foreign content. Traders and smugglers have turned to USB sticks and micro SD cards instead of DVDs.\u003c/p>\n\u003cp>“That’s been a really popular way to spread information,” says Pearson. “You can hide them between the pages of a book — you can swallow them, even, if you’re caught with them.”\u003c/p>\n\u003cp>Demand is so high that some Chinese companies manufacture products geared to the North Korean market. Pearson has reported on a device \u003ca href=\"http://www.reuters.com/article/us-northkorea-change-insight-idUSKBN0MM2UZ20150327\">called the “notel,”\u003c/a> a portable media player with a USB input. Users plug two things in at once: the illicit media on a USB stick, and in case of inspection, a state-approved propaganda disc.\u003c/p>\n\u003cp>“Like, ‘Kim Jong Il’s Greatest Hits,’ ” Pearson says. “Should there be a knock on the door from the \u003cem>bowibu\u003c/em>, which is the Gestapo, Stasi-esque institution in North Korea, you can just pull out the USB stick, open up the DVD drive and say, ‘Look, I was watching this.’ ”\u003c/p>\n\u003cp>\u003cstrong>Change from within\u003c/strong>\u003c/p>\n\u003cp>Viewing and selling illicit media is still dangerous in North Korea. Under Kim Jong Un, \u003ca href=\"http://www.intermedia.org/wp-content/uploads/2017/02/Compromising-Connectivity-Final-Report_Soft-Copy.pdf#page=30\">defectors report\u003c/a> stricter crackdowns by specialized government units that are much harder to bribe than their predecessors. But it doesn’t seem to deter people from watching in secret.\u003c/p>\n\u003cp>“People crave to know what they don’t know. People want to do what they’re told not to do,” says Jieun Baek, author of \u003cem>North Korea’s Hidden Revolution. \u003c/em>\u003c/p>\n\u003cp>She says this presents an opportunity for governments like the U.S. and South Korea to step in and take advantage of the demand for illegal foreign media.\u003c/p>\n\u003cp>“South Korea has both government- and independently funded programs that have been beaming information into North Korea for decades. Same with the U.S.,” Baek says. “But all of this has to be ramped up substantially for there to be an effective counter-balance to North Korea’s domestic propaganda machine.”\u003c/p>\n\u003cp>She says it’s a cost-effective way to lay the groundwork for long-term change. But it won’t happen overnight.\u003c/p>\n\u003cp>“I think it’s important to not over-romanticize the power of foreign information. ‘Pyangyang Square’ is not going to take place tomorrow because of a couple of USBs,” Baek says. “But by flooding this country with foreign information, there will be dissenters in both thought and action who will emerge from within North Korean society.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Radio editor \u003ca href=\"http://www.npr.org/people/360134258/arezou-rezvani\">Arezou Rezvani\u003c/a> contributed to this report.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watching+Foreign+Movies+Is+Illegal+In+North+Korea%2C+But+Some+Do+It+Anyway&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Yeonmi Park was a young girl in North Korea’s Ryanggang Province, near the Chinese border, she went to her uncle’s house to watch TV. But this wasn’t the usual state-run broadcast praising the “Dear Leader.” The movie she watched at her uncle’s house was illegal.\u003c/p>\n\u003cp>She covered the windows with blankets, turned the volume down low and huddled in close around the TV. She watched a pirated copy of \u003cem>Titanic\u003c/em>.\u003c/p>\n\u003cp>“When I saw that movie for the first time, I was very confused,” Park says. “I never heard my father telling my mother that he loved her. And my mother never told me she loved me, either. To me, love was only expressed [for] the Dear Leader. So, it was a very odd concept to me — how can a man die for a woman?”\u003c/p>\n\u003cp>By the time Park, now 23, escaped North Korea in 2007, she’d seen James Bond films, South Korean dramas — even American wrestling matches.\u003c/p>\n\u003cp>“Just for a couple of hours, you forget about how life is so hard,” says Park, who now lives in the U.S. “Almost dreaming about a different planet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Park’s experience doesn’t reflect the North Korea we think we know — and her story is not unique.\u003c/p>\n\u003cp>We see a country in isolation, but in today’s society, even the most repressive regime can’t keep everything out.\u003c/p>\n\u003cp>“The idea that North Korea is an information black hole is simply not true anymore,” says James Pearson, a reporter for Reuters in South Korea and co-author of the 2015 book \u003cem>North Korea Confidential\u003c/em>.\u003c/p>\n\u003cp>Pearson says illicit media undermines the Pyongyang regime because even Hollywood movies like \u003cem>Titanic \u003c/em>can be subversive\u003cem>.\u003c/em>\u003c/p>\n\u003cp>“That can start to change people’s thinking,” he says. “When you talk to defectors who’ve left the country, many of them say, ‘It was looking at foreign media that started to help me question what it is that I hear from the government. Perhaps things aren’t OK here.’ ”\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.intermedia.org/wp-content/uploads/2017/02/Compromising-Connectivity-Final-Report_Soft-Copy.pdf\">a recent report by the Washington-based research group InterMedia\u003c/a>, “media devices such as televisions and DVD players have reached near ubiquity in North Korea, with access and ownership a common phenomenon across nearly all demographic, socio-economic and political class divides.” In Intermedia’s survey of a group of 350 North Korean defectors, refugees and travelers, 92 percent said they watched foreign content on a DVD player.\u003c/p>\n\u003cp>\u003cstrong>“You can find anything but a cat’s horn”\u003c/strong>\u003c/p>\n\u003cp>To understand how illicit media reaches such a closed-off society, you have to look to the mid-1990s. The fall of the Soviet Union crushed North Korea’s fragile economy, and floods helped bring a devastating famine. The North Korean government failed to feed its people.\u003c/p>\n\u003cp>In that time of crisis, when North Koreans could no longer rely on the state, signs of grass-roots capitalism emerged, Pearson says. Makeshift stands popped up around the country, where people traded goods and food.\u003c/p>\n\u003cp>“During the famine, people said that the ones who turned to capitalism and trading were the ones that survived,” Pearson says. “And that has been the real economy ever since. In a way, it’s kind of North Korea’s biggest open secret.”\u003c/p>\n\u003cp>The black market has grown, he says, because government officials benefit from it. State salaries are so low that border guards can easily be bribed. Goods flow in from China — and these days, that includes more than food.\u003c/p>\n\u003cp>“There’s a saying in North Korea,” Pearson says. “‘You can find anything but a cat’s horn.’ Meaning that if it exists, you can probably find it in the markets.”\u003c/p>\n\u003cp>Charles, a North Korean defector now in the United States, used to peddle bootleg DVDs to make money — he says he risked his life doing it.\u003c/p>\n\u003cp>NPR contacted Charles — the Americanized version of his Korean first name — through the U.S. nonprofit \u003ca href=\"http://www.libertyinnorthkorea.org/\">Liberty in North Korea\u003c/a>. We’re withholding his last name to protect relatives he left behind.\u003c/p>\n\u003cp>“One of my friend’s father was a police officer,” he says. “At midnight, he’d go out to residences and crack down on foreign media.”\u003c/p>\n\u003cp>Despite being a government official, he kept the confiscated DVDs for himself, so Charles always knew where to find the best movies. Without his friend’s father ever knowing, Charles secretly copied the confiscated discs and redistributed them right back onto the market.\u003c/p>\n\u003cp>“I was a kid — I was 14 or 15 — so nobody would suspect me. I’d hide [DVDs] under my clothes, and some of them in my jackets, inside the pockets in the jackets,” Charles says. “Everywhere.”\u003c/p>\n\u003cp>Since Charles, now 22, left North Korea, it has become much easier to conceal foreign content. Traders and smugglers have turned to USB sticks and micro SD cards instead of DVDs.\u003c/p>\n\u003cp>“That’s been a really popular way to spread information,” says Pearson. “You can hide them between the pages of a book — you can swallow them, even, if you’re caught with them.”\u003c/p>\n\u003cp>Demand is so high that some Chinese companies manufacture products geared to the North Korean market. Pearson has reported on a device \u003ca href=\"http://www.reuters.com/article/us-northkorea-change-insight-idUSKBN0MM2UZ20150327\">called the “notel,”\u003c/a> a portable media player with a USB input. Users plug two things in at once: the illicit media on a USB stick, and in case of inspection, a state-approved propaganda disc.\u003c/p>\n\u003cp>“Like, ‘Kim Jong Il’s Greatest Hits,’ ” Pearson says. “Should there be a knock on the door from the \u003cem>bowibu\u003c/em>, which is the Gestapo, Stasi-esque institution in North Korea, you can just pull out the USB stick, open up the DVD drive and say, ‘Look, I was watching this.’ ”\u003c/p>\n\u003cp>\u003cstrong>Change from within\u003c/strong>\u003c/p>\n\u003cp>Viewing and selling illicit media is still dangerous in North Korea. Under Kim Jong Un, \u003ca href=\"http://www.intermedia.org/wp-content/uploads/2017/02/Compromising-Connectivity-Final-Report_Soft-Copy.pdf#page=30\">defectors report\u003c/a> stricter crackdowns by specialized government units that are much harder to bribe than their predecessors. But it doesn’t seem to deter people from watching in secret.\u003c/p>\n\u003cp>“People crave to know what they don’t know. People want to do what they’re told not to do,” says Jieun Baek, author of \u003cem>North Korea’s Hidden Revolution. \u003c/em>\u003c/p>\n\u003cp>She says this presents an opportunity for governments like the U.S. and South Korea to step in and take advantage of the demand for illegal foreign media.\u003c/p>\n\u003cp>“South Korea has both government- and independently funded programs that have been beaming information into North Korea for decades. Same with the U.S.,” Baek says. “But all of this has to be ramped up substantially for there to be an effective counter-balance to North Korea’s domestic propaganda machine.”\u003c/p>\n\u003cp>She says it’s a cost-effective way to lay the groundwork for long-term change. But it won’t happen overnight.\u003c/p>\n\u003cp>“I think it’s important to not over-romanticize the power of foreign information. ‘Pyangyang Square’ is not going to take place tomorrow because of a couple of USBs,” Baek says. “But by flooding this country with foreign information, there will be dissenters in both thought and action who will emerge from within North Korean society.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The United States is still a home for everyone; the proof is that a Muslim living in suburban Illinois can make a prayer rug joke and have it feel fully, unmistakably American. In \u003cem>The Big Sick\u003c/em>, when aspiring comedian Kumail Nanjiani leaves the Chicago stage, he often dines with his Pakistani parents in their cul-de-sac, where they expect him to do his full five minutes of prostrating before they can all dig into their biryani. But Kumail, like many a disaffected member of his generation, has soured on the concept of religion. So when he takes his rug into the basement, he sets his iPhone timer and watches exactly five minutes of YouTube videos.\u003c/p>\n\u003cp>This scene is gold. But it comes with the little stinger that Kumail knows he can only tell this particular joke to himself. His parents made sacrifices for him, built new lives in an unfamiliar country for him, and all they asked in return was that he continue to practice Islam — the one thing he no longer wants to do, because America has changed his priorities. That extends to their hopes for his arranged marriage, or, as Kumail notes they call it at home, a marriage. “Who could that be?” his mother asks when the doorbell rings, returning every time with a pretty, single Pakistani woman; the bachelorettes leave behind their headshots, which Kumail chucks into a shoebox. It’s an easy laugh with no easy answers.\u003c/p>\n\u003cp>\u003cem>The Big Sick\u003c/em> is autobiographical, the story of the real-life Nanjiani (a longtime comedy ringer you likely know best from \u003cem>Silicon Valley\u003c/em> and frequent appearances on L.A.-based comedy podcasts) and his real-life wife Emily V. Gordon. The two co-wrote the script, then handed it to director Michael Showalter (\u003cem>Wet Hot American Summer\u003c/em>), who ditches his usual archness to do right by the emotional honesty that makes this story so special. Then they let Judd Apatow produce, which was nice of them, as it means he finally gets his name attached to the James L. Brooks-type blend of sprawling, character-based comedy and tearjerker melodrama that he worships but hasn’t quite been able to pull off since \u003cem>The 40-Year-Old Virgin\u003c/em>.\u003c/p>\n\u003cp>Because, yes, this movie about comedians has a side of tears. But not right away, you gluttons for sadness. Opposite Nanjiani, who plays himself, there is the effortlessly charming Zoe Kazan as Emily, a white graduate student who flirts with him at his show before insisting that she can’t see anyone right now. She insists this as one beer turns into three dates and various nights on his apartment’s air mattress. There’s a nice joke where Emily tries to set limits by calling an Uber from Kumail’s place, and his phone buzzes because he moonlights as a driver — destiny by way of the App Store.\u003c/p>\n\u003cp>Kumail wants badly to be with Emily, but can’t bring himself to tell his parents (Anupam Kher and Zenobia Shroff) for fear they will disown him; he tries confiding in his brother (Adeel Akhtar), who advises him to break off the relationship immediately so he won’t upset the family. His loyalty to his parents leads him to attempt a double life, and soon a hurt Emily has called off their relationship. The complexity of Kumail’s feelings toward his heritage is refreshing. He clearly loves his culture, and has written a one-man show about Pakistan, including an oral exam, which he makes his friends suffer through. Yet there’s a sense that he’s become trapped by his family, even beyond the familiar child-of-immigrant jokes where they hint at preferred careers in medicine or law. They’re barreling toward something that is going to hurt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s all before \u003cem>The Big Sick\u003c/em> rears its ugly head. After breaking up with Kumail, Emily collapses and is placed in intensive care at a local hospital, where, in a medically induced coma, she can’t see that her now-ex is doting over her. The film doesn’t get too lost in medical jargon, but \u003ca href=\"http://www.hollywoodreporter.com/news/big-sick-emilys-illness-is-real-based-a-distressing-true-story-1015698\" target=\"_blank\" rel=\"noopener\">the real Gordon\u003c/a> has a rare autoimmune disorder called adult-onset Still’s disease (AOSD), a form of arthritis that can (and does) shut down major organs in the body. Movie characters spend more time lounging around hospitals than pharmacy reps, but \u003cem>The Big Sick\u003c/em> is the first “hospital film” in a while that makes us feel the stakes of a vicious mystery disease in our guts.\u003c/p>\n\u003cp>While Emily suffers rounds of tests, her parents come to town, and they’re played in a brilliant bit of casting by Holly Hunter and Ray Romano. Hunter’s no-nonsense nurturing instincts and Romano’s beta-male blunderings give Kumail a different window into parenting from his own; though at first wary of him because they know he’s been dishonest with their daughter, they soon warm to his sheepish charms and form an unlikely trio facing down this anxiety together. Though \u003cem>The Big Sick\u003c/em> is not especially concerned with making you laugh, it does have a lot to say about laughter: in an electrifying scene, the parents go to Kumail’s comedy show to take their mind off things, and wind up defending him from a racist heckler. Their anger is, at least in part, because their right to laugh at something has been violated.\u003c/p>\n\u003cp>Nanjiani’s biggest strength as a comedian is also his biggest weakness as a dramatic actor: the withering line deliveries that sound like he’s struggling to control his sarcasm. His chemistry with Kazan helps us take him more seriously, though the demands of the story are such that they aren’t together for long before Emily goes comatose. In the film’s second half, the laws of attraction are really being applied to Kumail’s relationship with Emily’s parents, who grow to appreciate him without her knowledge, and without Kazan’s infectious onscreen presence.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So maybe this isn’t really a rom-com. But buried inside this seeming flaw is the film’s unique, understated comic irony. After rejecting his parents’ attempts to arrange his marriage, Kumail winds up arranging his own.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The United States is still a home for everyone; the proof is that a Muslim living in suburban Illinois can make a prayer rug joke and have it feel fully, unmistakably American. In \u003cem>The Big Sick\u003c/em>, when aspiring comedian Kumail Nanjiani leaves the Chicago stage, he often dines with his Pakistani parents in their cul-de-sac, where they expect him to do his full five minutes of prostrating before they can all dig into their biryani. But Kumail, like many a disaffected member of his generation, has soured on the concept of religion. So when he takes his rug into the basement, he sets his iPhone timer and watches exactly five minutes of YouTube videos.\u003c/p>\n\u003cp>This scene is gold. But it comes with the little stinger that Kumail knows he can only tell this particular joke to himself. His parents made sacrifices for him, built new lives in an unfamiliar country for him, and all they asked in return was that he continue to practice Islam — the one thing he no longer wants to do, because America has changed his priorities. That extends to their hopes for his arranged marriage, or, as Kumail notes they call it at home, a marriage. “Who could that be?” his mother asks when the doorbell rings, returning every time with a pretty, single Pakistani woman; the bachelorettes leave behind their headshots, which Kumail chucks into a shoebox. It’s an easy laugh with no easy answers.\u003c/p>\n\u003cp>\u003cem>The Big Sick\u003c/em> is autobiographical, the story of the real-life Nanjiani (a longtime comedy ringer you likely know best from \u003cem>Silicon Valley\u003c/em> and frequent appearances on L.A.-based comedy podcasts) and his real-life wife Emily V. Gordon. The two co-wrote the script, then handed it to director Michael Showalter (\u003cem>Wet Hot American Summer\u003c/em>), who ditches his usual archness to do right by the emotional honesty that makes this story so special. Then they let Judd Apatow produce, which was nice of them, as it means he finally gets his name attached to the James L. Brooks-type blend of sprawling, character-based comedy and tearjerker melodrama that he worships but hasn’t quite been able to pull off since \u003cem>The 40-Year-Old Virgin\u003c/em>.\u003c/p>\n\u003cp>Because, yes, this movie about comedians has a side of tears. But not right away, you gluttons for sadness. Opposite Nanjiani, who plays himself, there is the effortlessly charming Zoe Kazan as Emily, a white graduate student who flirts with him at his show before insisting that she can’t see anyone right now. She insists this as one beer turns into three dates and various nights on his apartment’s air mattress. There’s a nice joke where Emily tries to set limits by calling an Uber from Kumail’s place, and his phone buzzes because he moonlights as a driver — destiny by way of the App Store.\u003c/p>\n\u003cp>Kumail wants badly to be with Emily, but can’t bring himself to tell his parents (Anupam Kher and Zenobia Shroff) for fear they will disown him; he tries confiding in his brother (Adeel Akhtar), who advises him to break off the relationship immediately so he won’t upset the family. His loyalty to his parents leads him to attempt a double life, and soon a hurt Emily has called off their relationship. The complexity of Kumail’s feelings toward his heritage is refreshing. He clearly loves his culture, and has written a one-man show about Pakistan, including an oral exam, which he makes his friends suffer through. Yet there’s a sense that he’s become trapped by his family, even beyond the familiar child-of-immigrant jokes where they hint at preferred careers in medicine or law. They’re barreling toward something that is going to hurt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s all before \u003cem>The Big Sick\u003c/em> rears its ugly head. After breaking up with Kumail, Emily collapses and is placed in intensive care at a local hospital, where, in a medically induced coma, she can’t see that her now-ex is doting over her. The film doesn’t get too lost in medical jargon, but \u003ca href=\"http://www.hollywoodreporter.com/news/big-sick-emilys-illness-is-real-based-a-distressing-true-story-1015698\" target=\"_blank\" rel=\"noopener\">the real Gordon\u003c/a> has a rare autoimmune disorder called adult-onset Still’s disease (AOSD), a form of arthritis that can (and does) shut down major organs in the body. Movie characters spend more time lounging around hospitals than pharmacy reps, but \u003cem>The Big Sick\u003c/em> is the first “hospital film” in a while that makes us feel the stakes of a vicious mystery disease in our guts.\u003c/p>\n\u003cp>While Emily suffers rounds of tests, her parents come to town, and they’re played in a brilliant bit of casting by Holly Hunter and Ray Romano. Hunter’s no-nonsense nurturing instincts and Romano’s beta-male blunderings give Kumail a different window into parenting from his own; though at first wary of him because they know he’s been dishonest with their daughter, they soon warm to his sheepish charms and form an unlikely trio facing down this anxiety together. Though \u003cem>The Big Sick\u003c/em> is not especially concerned with making you laugh, it does have a lot to say about laughter: in an electrifying scene, the parents go to Kumail’s comedy show to take their mind off things, and wind up defending him from a racist heckler. Their anger is, at least in part, because their right to laugh at something has been violated.\u003c/p>\n\u003cp>Nanjiani’s biggest strength as a comedian is also his biggest weakness as a dramatic actor: the withering line deliveries that sound like he’s struggling to control his sarcasm. His chemistry with Kazan helps us take him more seriously, though the demands of the story are such that they aren’t together for long before Emily goes comatose. In the film’s second half, the laws of attraction are really being applied to Kumail’s relationship with Emily’s parents, who grow to appreciate him without her knowledge, and without Kazan’s infectious onscreen presence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Experience Joe Dante’s Delightful Inferno of Film",
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"content": "\u003cp>Joe Dante was one of Roger Corman’s kids: His first job in the movies was cutting trailers for the king of low-budget exploitation pictures. Corman’s movies were uneven but he could certainly spot talent, and he let Dante out of the editing room to direct \u003cem>Hollywood Boulevard\u003c/em> and the worldwide hit \u003cem>Piranha\u003c/em> (from a John Sayles screenplay!). It wasn’t long before Dante graduated to directing goofily entertaining (and beloved) studio movies like \u003cem>Gremlins\u003c/em>, \u003cem>The ‘Burbs\u003c/em> and \u003cem>Matinee\u003c/em>. His career throughout has been defined by the simple virtues of affection for his audience and a disdain for cynicism.\u003c/p>\n\u003cfigure id=\"attachment_13495710\" class=\"wp-caption aligncenter\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/matinee570.jpg\" alt=\"Still from 'Matinee,' 1993.\" width=\"570\" height=\"321\" class=\"size-full wp-image-13495710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-520x293.jpg 520w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Matinee,’ 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>The Roxie brings the filmmaker and raconteur — who’s in preproduction on a film based on Corman’s adventures in acid making \u003cem>The Trip\u003c/em> with Dennis Hopper, Peter Fonda and Jack Nicholson in 1967 — to San Francisco this weekend for a series they’ve dubbed \u003ca href=\"http://www.roxie.com/joe-dantes-films-films/\" target=\"_blank\" rel=\"noopener noreferrer\">Joe Dante’s Films in Films\u003c/a>. The idea is to spotlight the witty short films he embedded in his features, with the director introducing the 1983 anthology \u003cem>Twilight Zone: The Movie\u003c/em> (Saturday, July 1 at 9:30pm) and the delightful \u003cem>Matinee\u003c/em> (Sunday, July 2 at 2pm). The weekend wraps with the anarchic \u003cem>Amazon Women on the Moon\u003c/em> (Sunday at 6:30pm) after Dante blows town.\u003c/p>\n\u003cfigure id=\"attachment_13495709\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/amazonwomen_700.jpg\" alt=\"Carrie Fisher and Paul Bartel in 'Amazon Women on the Moon,' 1987.\" width=\"700\" height=\"467\" class=\"size-full wp-image-13495709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Fisher and Paul Bartel in ‘Amazon Women on the Moon,’ 1987.\u003c/figcaption>\u003c/figure>\n\u003cp>The kickoff and main attraction, though, is Dante’s presentation of \u003cem>The Movie Orgy\u003c/em> (Saturday at 1pm). Screened in a seven-hour version on college campuses circa 1968, the marathon work consisted of the juicy parts of several psychotronic films cut together and interspersed with vintage TV commercials and other bits of celluloid. (Dante started out as an editor, remember.) He recently revived this weirdness in a four-and-a-half-hour version, and started taking it around the country. Dante explained to an interviewer last year, “People ask, ‘Why don’t you put a video out of it?’ Well, first of all I don’t own anything on it. Some of it is unidentifiable. And more importantly, this only works with an audience, with a crowd. It’s an experience movie, it’s not a movie movie.” \u003c/p>\n\u003cp>If that’s not a perfectly Cormanesque sales pitch, I don’t know what is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Dante was one of Roger Corman’s kids: His first job in the movies was cutting trailers for the king of low-budget exploitation pictures. Corman’s movies were uneven but he could certainly spot talent, and he let Dante out of the editing room to direct \u003cem>Hollywood Boulevard\u003c/em> and the worldwide hit \u003cem>Piranha\u003c/em> (from a John Sayles screenplay!). It wasn’t long before Dante graduated to directing goofily entertaining (and beloved) studio movies like \u003cem>Gremlins\u003c/em>, \u003cem>The ‘Burbs\u003c/em> and \u003cem>Matinee\u003c/em>. His career throughout has been defined by the simple virtues of affection for his audience and a disdain for cynicism.\u003c/p>\n\u003cfigure id=\"attachment_13495710\" class=\"wp-caption aligncenter\" style=\"max-width: 570px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/matinee570.jpg\" alt=\"Still from 'Matinee,' 1993.\" width=\"570\" height=\"321\" class=\"size-full wp-image-13495710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570.jpg 570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/matinee570-520x293.jpg 520w\" sizes=\"(max-width: 570px) 100vw, 570px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Matinee,’ 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>The Roxie brings the filmmaker and raconteur — who’s in preproduction on a film based on Corman’s adventures in acid making \u003cem>The Trip\u003c/em> with Dennis Hopper, Peter Fonda and Jack Nicholson in 1967 — to San Francisco this weekend for a series they’ve dubbed \u003ca href=\"http://www.roxie.com/joe-dantes-films-films/\" target=\"_blank\" rel=\"noopener noreferrer\">Joe Dante’s Films in Films\u003c/a>. The idea is to spotlight the witty short films he embedded in his features, with the director introducing the 1983 anthology \u003cem>Twilight Zone: The Movie\u003c/em> (Saturday, July 1 at 9:30pm) and the delightful \u003cem>Matinee\u003c/em> (Sunday, July 2 at 2pm). The weekend wraps with the anarchic \u003cem>Amazon Women on the Moon\u003c/em> (Sunday at 6:30pm) after Dante blows town.\u003c/p>\n\u003cfigure id=\"attachment_13495709\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/amazonwomen_700.jpg\" alt=\"Carrie Fisher and Paul Bartel in 'Amazon Women on the Moon,' 1987.\" width=\"700\" height=\"467\" class=\"size-full wp-image-13495709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/amazonwomen_700-520x347.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Fisher and Paul Bartel in ‘Amazon Women on the Moon,’ 1987.\u003c/figcaption>\u003c/figure>\n\u003cp>The kickoff and main attraction, though, is Dante’s presentation of \u003cem>The Movie Orgy\u003c/em> (Saturday at 1pm). Screened in a seven-hour version on college campuses circa 1968, the marathon work consisted of the juicy parts of several psychotronic films cut together and interspersed with vintage TV commercials and other bits of celluloid. (Dante started out as an editor, remember.) He recently revived this weirdness in a four-and-a-half-hour version, and started taking it around the country. Dante explained to an interviewer last year, “People ask, ‘Why don’t you put a video out of it?’ Well, first of all I don’t own anything on it. Some of it is unidentifiable. And more importantly, this only works with an audience, with a crowd. It’s an experience movie, it’s not a movie movie.” \u003c/p>\n\u003cp>If that’s not a perfectly Cormanesque sales pitch, I don’t know what is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Three Movies to Remember Anton Yelchin's Talent By, One Year Later",
"headTitle": "Three Movies to Remember Anton Yelchin’s Talent By, One Year Later | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Let’s remember this: There are no life lessons to be drawn from a life that’s cut short tragically and publicly — no grand meaning to it all — when talent is suddenly taken away, especially when it’s young. And while 2016 saw the passing of many musicians, celebrities and public figures, the \u003ca href=\"http://variety.com/2016/film/news/anton-yelchin-dead-star-trek-alpha-dog-1201798798/\">death of actor Anton Yelchin at age 27\u003c/a>, one year ago this week, was particularly painful for the nature of the auto accident at his home that killed him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a cliché of popular movie criticism, but Yelchin really \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">was\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the best thing in almost \u003ca href=\"http://www.imdb.com/name/nm0947338/\">any film he appeared in\u003c/a>. His face was the one your eyes were drawn to; his phrasing and cadence the sounds that caught your ear. \u003c/span>\u003cspan style=\"font-weight: 400\">For a slight-of-frame young man with elfin features in a world of Christian Bales and Channing Tatums, he also made a staggeringly good play for action movie memorability. Whenever guns (or phasers) were being fired and sets blown up, Yelchin’s the guy you’d see and think, “Yes: if this were real life, that guy would be \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">me right there\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13505698\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.StarTrek.jpg\" alt=\"Anton Yelchin in 'Star Trek' (2009).\" width=\"416\" height=\"614\" class=\"size-full wp-image-13505698\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin in ‘Star Trek’ (2009). \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of his death, Yelchin’s role as Pavel Chekov in the \u003ca href=\"http://www.imdb.com/title/tt0796366/\">rebooted \u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">Star Trek\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> franchise was his best-known. Playing Chekov with a wide-eyed incredulity, and the kind of rolling accent that only someone born in St. Petersburg could get away with, Yelchin was relegated to a minor part amid a star-powered ensemble cast — but still made a mark whenever onscreen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many of the tributes that immediately followed news of Yelchin’s death dwelt on the giant “what if”-ness of a career cut short: the actor he could have become in later years once his puppy-ish youthful looks had settled into maturity, or the movies that grown actor would have made. But to focus on the films that’ll never be made is to forget what fantastic, enjoyable work he’d already done.\u003c/span>\u003c/p>\n\u003cp>Here, then, are three movies of Yelchin’s — all of them good, for different reasons — that I’d personally recommend as a reminder. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13505700\" class=\"wp-caption aligncenter\" style=\"max-width: 1246px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom.jpg\" alt=\"Anton Yelchin as Pat, bassist of the Ain't Rights, in 'Green Room.'\" width=\"1246\" height=\"720\" class=\"size-full wp-image-13505700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-1020x589.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-1180x682.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-960x555.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-520x300.jpg 520w\" sizes=\"(max-width: 1246px) 100vw, 1246px\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin as Pat, bassist of the Ain’t Rights, in ‘Green Room.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.imdb.com/title/tt4062536/?ref_=nv_sr_1\">\u003cb>‘Green Room’\u003c/b>\u003c/a>\u003cb> (2015)\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003c/h3>\n\u003cp>“Punks vs. Nazis in the woods”: \u003ci>Green Room\u003c/i>’s essential setup appears designed to be yelled at a friend over loud music in a bar, but it really \u003cem>is\u003c/em> that simple, and that visceral. A scrappy young hardcore band — with Yelchin on guitar — on tour in the Pacific Northwest accepts a shady “mostly boots and braces” gig in the middle of nowhere that turns out to be a white supremacist hangout. One accidentally witnessed murder of a Neo-Nazi later, and the band is under siege and marked for death by the venue’s organizers.\u003c/p>\n\u003cp>At 95 minutes, \u003ci>Green Room\u003c/i> is so tight and so spare that it joins the pantheon of phenomenal siege movies like \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0074156/?ref_=nv_sr_2\">Assault on Precinct 13\u003c/a>\u003c/em> and \u003ca href=\"http://www.imdb.com/title/tt0116367/?ref_=nv_sr_1\">\u003cem>From Dusk ’til Dawn.\u003c/em>\u003c/a> Much has been made of its often overwhelming violence, and with just cause. But writer-director Jeremy Saulnier understands that we need to care deeply whether these young musicians live or die, dedicating some fantastic moments to that end in the setup — and Yelchin’s at the heart of them.\u003c/p>\n\u003cp>Asked by a local interviewer at the outset of the movie for their “desert island” musical choices, the band agonize enthusiastically (“Misfits. No, The Damned. \u003ci>Misfits\u003c/i>”), while Yelchin, as the pensive guitarist, refuses to commit. One hour of screen time later, amid the bloodshed, Yelchin’s exhausted and harrowed band members ask each other the same question. This time, the (honest?) answers are Simon & Garfunkel and Prince — but, true to character, Yelchin still can’t get the words out.\u003c/p>\n\u003cp>He’s the emotional heart of this movie, whose fretful demeanor in earlier scenes (even as he posits antagonizing the crowd with \u003ca href=\"https://www.youtube.com/watch?v=jQkrukDvdcU\">a cover of ‘Nazi Punks F*ck Off’\u003c/a>) almost suggests an unconscious knowledge of the nastiness to come. Accordingly, it’s no accident that Saulnier chooses to inflict what’s probably this movie’s most harrowing act of violence (knife, arm, duct tape) upon his character, for maximum horror. Bring your strongest stomach.\u003c/p>\n\u003cfigure id=\"attachment_13505701\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy.jpg\" alt=\"Anton Yelchin and Felicity Jones in 'Like Crazy.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13505701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin and Felicity Jones in ‘Like Crazy.’ \u003ccite>(Paramount Vantage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.imdb.com/title/tt1758692/?ref_=nv_sr_1\">\u003cb>‘Like Crazy’\u003c/b>\u003c/a>\u003cb>(2011)\u003c/b>\u003c/h3>\n\u003cp>Please don’t let the godawful title put you off: This is a lovely little movie about the things you think you know when you’re young, and, later, how much you find out you’re wrong. Yelchin plays Jacob, an American college senior in Los Angeles who falls in love with British exchange student Anna (Felicity Jones) — but almost immediately, she overstays her visa and finds herself forced back to England. What begins as a slight, universally recognizable story of youthful infatuation gradually morphs into something more complex: A long-distance relationship we follow over the years, charting how hopes and good intentions can become harder to cling to with time and distance.\u003c/p>\n\u003cp>There’s a lot to appreciate and actually enjoy in this film, including a small but highly significant role for a young Jennifer Lawrence. But ultimately, this is 22-year-old Anton Yelchin’s show, and it’s a heartbreaker. He — like Jones — has a face and a demeanor that can make him seem older than his years, which has the hugely poignant effect of making you feel as if you’re already watching his older, more disappointed self even as he falls about giggling as a college student.\u003c/p>\n\u003cp>It’s this quiet sadness that gives \u003ci>Like Crazy\u003c/i> what is — for me — \u003ca href=\"https://www.youtube.com/watch?v=xVJTYZvVaQk\">its best moment\u003c/a> early on, wherein the couple’s first date moves with late-night tipsiness to the dorm room. Anna promises to read some of her poetry on the condition that Jacob isn’t “allowed to laugh.” Yelchin then either slurringly echoes “I’m not allowed to laugh” or “I won’t laugh” — it’s difficult to hear, and even harder to verify, because this movie was improvised by the cast without a script. A lesser actor would have delivered this line straight into Jones’ face, but Yelchin instead \u003ci>marvels\u003c/i> it almost entirely to himself, as kind of an address in the mirror: \u003cem>How could this woman ever think I’d laugh at her?\u003c/em>\u003c/p>\n\u003cp>Whether it’s actorly intuition on his part or just really good direction, there’s something bittersweet about the way the moment captures this truth about human relationships — that it’s almost always what we can’t say, or what we mutter when we know it won’t be heard, that means the most.\u003c/p>\n\u003cfigure id=\"attachment_13505699\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight.jpg\" alt=\"Anton Yelchin as Charley Brewster in 'Fright Night.'\" width=\"1400\" height=\"788\" class=\"size-full wp-image-13505699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-520x293.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin as Charley Brewster in ‘Fright Night.’ \u003ccite>(DreamWorks Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.imdb.com/title/tt1438176/\">\u003cb>‘Fright Night’\u003c/b>\u003c/a>\u003cb>(2009)\u003c/b>\u003c/h3>\n\u003cp>Craig Gillespie’s remake of the \u003ca href=\"http://www.imdb.com/title/tt0089175/?ref_=nv_sr_2\">1985 shlock classic\u003c/a> has gotten lost amid the general vogue for needless horror remakes — \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0324216/?ref_=nv_sr_3\">The Texas Chainsaw Massacre\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0373883/?ref_=nv_sr_4\">Halloween\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt1179056/?ref_=nv_sr_2\">Nightmare on Elm Street\u003c/a>\u003c/em> — that plagued the aughts. But this odd, offbeat and refreshingly \u003ci>\u003cspan style=\"font-weight: 400\">funny\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> horror comedy is different — not least for its incongruous, antiseptic setting of the Vegas suburbs, a land of identikit curving dead ends and permanent dusk at the edge of the desert. (Reading screenwriter — and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Buffy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> alum — Marti Noxon’s \u003ca href=\"http://io9.gizmodo.com/5831992/buffy-the-vampire-slayers-marti-noxon-gives-us-a-tutorial-on-how-to-do-horror-comedy-right\">explanation for this\u003c/a> makes one wonder why \u003cem>more\u003c/em> horror movies aren’t set in this specific sandy wasteland: “Every other house there is abandoned. This is a world where people sleep all day and work all night. … If I were a monster, I would totally move here.”)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At first glance, the star role in \u003cem>Fright Night\u003c/em> would seem to be a nasty lead performance from Colin Farrell as the predatory vampire who moves next door to high school senior Yelchin and his mother (a great Toni Colette). But as in many other movies, Yelchin steals it from the showier star he’s ostensibly supporting. His Charley Brewster defies the usual high-school stereotypes seen in horror movies: he’s not a insufferable jock, or a put-upon nerd either. Instead, he’s an utterly endearing cool-nerd specimen, whose mounting panic at the danger posed to his family by the brutal Farrell Next Door is queasily infectious for a movie that’s meant to be a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">comedic\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> horror film.\u003c/span>\u003c/p>\n\u003cp>Even when his character makes utterly questionable choices, such as deciding salvation lies in the hands of a Criss Angel-esque Vegas magician (David Tennant, also having a blast), it’s a testament to Yelchin’s sheer likability that you watch the chaos unfold and say “yeah… I’d probably have done the same.” With its nice blend of banality and surreality, and some gratifyingly nasty scares, Fright Night is a great ride. Knowing that \u003ca href=\"http://io9.gizmodo.com/5831992/buffy-the-vampire-slayers-marti-noxon-gives-us-a-tutorial-on-how-to-do-horror-comedy-right\">Steven Spielberg was heavily involved in the development of this movie\u003c/a> — an uncredited backseat role he infamously also played in the making of another suburban comedy-horror, Tobe Hooper’s \u003ca href=\"http://www.imdb.com/title/tt0084516/?ref_=nv_sr_1\">\u003ci>\u003cspan style=\"font-weight: 400\">Poltergeist\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> (1982) — only makes things all the sweeter.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "It’s such a cliché of popular movie criticism, but Yelchin really was the best thing in almost any film he appeared in.",
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"title": "Three Movies to Remember Anton Yelchin's Talent By, One Year Later | KQED",
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"headline": "Three Movies to Remember Anton Yelchin's Talent By, One Year Later",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Let’s remember this: There are no life lessons to be drawn from a life that’s cut short tragically and publicly — no grand meaning to it all — when talent is suddenly taken away, especially when it’s young. And while 2016 saw the passing of many musicians, celebrities and public figures, the \u003ca href=\"http://variety.com/2016/film/news/anton-yelchin-dead-star-trek-alpha-dog-1201798798/\">death of actor Anton Yelchin at age 27\u003c/a>, one year ago this week, was particularly painful for the nature of the auto accident at his home that killed him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a cliché of popular movie criticism, but Yelchin really \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">was\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the best thing in almost \u003ca href=\"http://www.imdb.com/name/nm0947338/\">any film he appeared in\u003c/a>. His face was the one your eyes were drawn to; his phrasing and cadence the sounds that caught your ear. \u003c/span>\u003cspan style=\"font-weight: 400\">For a slight-of-frame young man with elfin features in a world of Christian Bales and Channing Tatums, he also made a staggeringly good play for action movie memorability. Whenever guns (or phasers) were being fired and sets blown up, Yelchin’s the guy you’d see and think, “Yes: if this were real life, that guy would be \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">me right there\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13505698\" class=\"wp-caption alignright\" style=\"max-width: 416px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.StarTrek.jpg\" alt=\"Anton Yelchin in 'Star Trek' (2009).\" width=\"416\" height=\"614\" class=\"size-full wp-image-13505698\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin in ‘Star Trek’ (2009). \u003ccite>(Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time of his death, Yelchin’s role as Pavel Chekov in the \u003ca href=\"http://www.imdb.com/title/tt0796366/\">rebooted \u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">Star Trek\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> franchise was his best-known. Playing Chekov with a wide-eyed incredulity, and the kind of rolling accent that only someone born in St. Petersburg could get away with, Yelchin was relegated to a minor part amid a star-powered ensemble cast — but still made a mark whenever onscreen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Many of the tributes that immediately followed news of Yelchin’s death dwelt on the giant “what if”-ness of a career cut short: the actor he could have become in later years once his puppy-ish youthful looks had settled into maturity, or the movies that grown actor would have made. But to focus on the films that’ll never be made is to forget what fantastic, enjoyable work he’d already done.\u003c/span>\u003c/p>\n\u003cp>Here, then, are three movies of Yelchin’s — all of them good, for different reasons — that I’d personally recommend as a reminder. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13505700\" class=\"wp-caption aligncenter\" style=\"max-width: 1246px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom.jpg\" alt=\"Anton Yelchin as Pat, bassist of the Ain't Rights, in 'Green Room.'\" width=\"1246\" height=\"720\" class=\"size-full wp-image-13505700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-768x444.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-1020x589.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-1180x682.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-960x555.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.GreenRoom-520x300.jpg 520w\" sizes=\"(max-width: 1246px) 100vw, 1246px\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin as Pat, bassist of the Ain’t Rights, in ‘Green Room.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.imdb.com/title/tt4062536/?ref_=nv_sr_1\">\u003cb>‘Green Room’\u003c/b>\u003c/a>\u003cb> (2015)\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003c/h3>\n\u003cp>“Punks vs. Nazis in the woods”: \u003ci>Green Room\u003c/i>’s essential setup appears designed to be yelled at a friend over loud music in a bar, but it really \u003cem>is\u003c/em> that simple, and that visceral. A scrappy young hardcore band — with Yelchin on guitar — on tour in the Pacific Northwest accepts a shady “mostly boots and braces” gig in the middle of nowhere that turns out to be a white supremacist hangout. One accidentally witnessed murder of a Neo-Nazi later, and the band is under siege and marked for death by the venue’s organizers.\u003c/p>\n\u003cp>At 95 minutes, \u003ci>Green Room\u003c/i> is so tight and so spare that it joins the pantheon of phenomenal siege movies like \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0074156/?ref_=nv_sr_2\">Assault on Precinct 13\u003c/a>\u003c/em> and \u003ca href=\"http://www.imdb.com/title/tt0116367/?ref_=nv_sr_1\">\u003cem>From Dusk ’til Dawn.\u003c/em>\u003c/a> Much has been made of its often overwhelming violence, and with just cause. But writer-director Jeremy Saulnier understands that we need to care deeply whether these young musicians live or die, dedicating some fantastic moments to that end in the setup — and Yelchin’s at the heart of them.\u003c/p>\n\u003cp>Asked by a local interviewer at the outset of the movie for their “desert island” musical choices, the band agonize enthusiastically (“Misfits. No, The Damned. \u003ci>Misfits\u003c/i>”), while Yelchin, as the pensive guitarist, refuses to commit. One hour of screen time later, amid the bloodshed, Yelchin’s exhausted and harrowed band members ask each other the same question. This time, the (honest?) answers are Simon & Garfunkel and Prince — but, true to character, Yelchin still can’t get the words out.\u003c/p>\n\u003cp>He’s the emotional heart of this movie, whose fretful demeanor in earlier scenes (even as he posits antagonizing the crowd with \u003ca href=\"https://www.youtube.com/watch?v=jQkrukDvdcU\">a cover of ‘Nazi Punks F*ck Off’\u003c/a>) almost suggests an unconscious knowledge of the nastiness to come. Accordingly, it’s no accident that Saulnier chooses to inflict what’s probably this movie’s most harrowing act of violence (knife, arm, duct tape) upon his character, for maximum horror. Bring your strongest stomach.\u003c/p>\n\u003cfigure id=\"attachment_13505701\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy.jpg\" alt=\"Anton Yelchin and Felicity Jones in 'Like Crazy.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13505701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.LikeCrazy-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin and Felicity Jones in ‘Like Crazy.’ \u003ccite>(Paramount Vantage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.imdb.com/title/tt1758692/?ref_=nv_sr_1\">\u003cb>‘Like Crazy’\u003c/b>\u003c/a>\u003cb>(2011)\u003c/b>\u003c/h3>\n\u003cp>Please don’t let the godawful title put you off: This is a lovely little movie about the things you think you know when you’re young, and, later, how much you find out you’re wrong. Yelchin plays Jacob, an American college senior in Los Angeles who falls in love with British exchange student Anna (Felicity Jones) — but almost immediately, she overstays her visa and finds herself forced back to England. What begins as a slight, universally recognizable story of youthful infatuation gradually morphs into something more complex: A long-distance relationship we follow over the years, charting how hopes and good intentions can become harder to cling to with time and distance.\u003c/p>\n\u003cp>There’s a lot to appreciate and actually enjoy in this film, including a small but highly significant role for a young Jennifer Lawrence. But ultimately, this is 22-year-old Anton Yelchin’s show, and it’s a heartbreaker. He — like Jones — has a face and a demeanor that can make him seem older than his years, which has the hugely poignant effect of making you feel as if you’re already watching his older, more disappointed self even as he falls about giggling as a college student.\u003c/p>\n\u003cp>It’s this quiet sadness that gives \u003ci>Like Crazy\u003c/i> what is — for me — \u003ca href=\"https://www.youtube.com/watch?v=xVJTYZvVaQk\">its best moment\u003c/a> early on, wherein the couple’s first date moves with late-night tipsiness to the dorm room. Anna promises to read some of her poetry on the condition that Jacob isn’t “allowed to laugh.” Yelchin then either slurringly echoes “I’m not allowed to laugh” or “I won’t laugh” — it’s difficult to hear, and even harder to verify, because this movie was improvised by the cast without a script. A lesser actor would have delivered this line straight into Jones’ face, but Yelchin instead \u003ci>marvels\u003c/i> it almost entirely to himself, as kind of an address in the mirror: \u003cem>How could this woman ever think I’d laugh at her?\u003c/em>\u003c/p>\n\u003cp>Whether it’s actorly intuition on his part or just really good direction, there’s something bittersweet about the way the moment captures this truth about human relationships — that it’s almost always what we can’t say, or what we mutter when we know it won’t be heard, that means the most.\u003c/p>\n\u003cfigure id=\"attachment_13505699\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight.jpg\" alt=\"Anton Yelchin as Charley Brewster in 'Fright Night.'\" width=\"1400\" height=\"788\" class=\"size-full wp-image-13505699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yelchin.FrightNight-520x293.jpg 520w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Anton Yelchin as Charley Brewster in ‘Fright Night.’ \u003ccite>(DreamWorks Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"http://www.imdb.com/title/tt1438176/\">\u003cb>‘Fright Night’\u003c/b>\u003c/a>\u003cb>(2009)\u003c/b>\u003c/h3>\n\u003cp>Craig Gillespie’s remake of the \u003ca href=\"http://www.imdb.com/title/tt0089175/?ref_=nv_sr_2\">1985 shlock classic\u003c/a> has gotten lost amid the general vogue for needless horror remakes — \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0324216/?ref_=nv_sr_3\">The Texas Chainsaw Massacre\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt0373883/?ref_=nv_sr_4\">Halloween\u003c/a>, \u003ca href=\"http://www.imdb.com/title/tt1179056/?ref_=nv_sr_2\">Nightmare on Elm Street\u003c/a>\u003c/em> — that plagued the aughts. But this odd, offbeat and refreshingly \u003ci>\u003cspan style=\"font-weight: 400\">funny\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> horror comedy is different — not least for its incongruous, antiseptic setting of the Vegas suburbs, a land of identikit curving dead ends and permanent dusk at the edge of the desert. (Reading screenwriter — and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Buffy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> alum — Marti Noxon’s \u003ca href=\"http://io9.gizmodo.com/5831992/buffy-the-vampire-slayers-marti-noxon-gives-us-a-tutorial-on-how-to-do-horror-comedy-right\">explanation for this\u003c/a> makes one wonder why \u003cem>more\u003c/em> horror movies aren’t set in this specific sandy wasteland: “Every other house there is abandoned. This is a world where people sleep all day and work all night. … If I were a monster, I would totally move here.”)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At first glance, the star role in \u003cem>Fright Night\u003c/em> would seem to be a nasty lead performance from Colin Farrell as the predatory vampire who moves next door to high school senior Yelchin and his mother (a great Toni Colette). But as in many other movies, Yelchin steals it from the showier star he’s ostensibly supporting. His Charley Brewster defies the usual high-school stereotypes seen in horror movies: he’s not a insufferable jock, or a put-upon nerd either. Instead, he’s an utterly endearing cool-nerd specimen, whose mounting panic at the danger posed to his family by the brutal Farrell Next Door is queasily infectious for a movie that’s meant to be a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">comedic\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> horror film.\u003c/span>\u003c/p>\n\u003cp>Even when his character makes utterly questionable choices, such as deciding salvation lies in the hands of a Criss Angel-esque Vegas magician (David Tennant, also having a blast), it’s a testament to Yelchin’s sheer likability that you watch the chaos unfold and say “yeah… I’d probably have done the same.” With its nice blend of banality and surreality, and some gratifyingly nasty scares, Fright Night is a great ride. Knowing that \u003ca href=\"http://io9.gizmodo.com/5831992/buffy-the-vampire-slayers-marti-noxon-gives-us-a-tutorial-on-how-to-do-horror-comedy-right\">Steven Spielberg was heavily involved in the development of this movie\u003c/a> — an uncredited backseat role he infamously also played in the making of another suburban comedy-horror, Tobe Hooper’s \u003ca href=\"http://www.imdb.com/title/tt0084516/?ref_=nv_sr_1\">\u003ci>\u003cspan style=\"font-weight: 400\">Poltergeist\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> (1982) — only makes things all the sweeter.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"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",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"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",
"title": "City Arts & Lectures",
"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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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": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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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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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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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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"here-and-now": {
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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",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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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": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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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
},
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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",
"meta": {
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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/",
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"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": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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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/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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