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"content": "\u003cp>There’s a classic moment in the romantic thriller \u003cem>Charade\u003c/em>, when Audrey Hepburn says to Cary Grant in exasperation, “Do you know what’s the matter with you? … Nothing.”\u003c/p>\n\u003cp>For decades, the whole world felt the same. Grant’s unrivaled blend of charm, good looks and silliness — he hadn’t a shred of pomposity or elitism — made him a movie star everyone loved. Everyone, that is, except Archie Leach, the actor’s real-life self who wrote that he’d spent years cautiously peering from behind the face of a man known as Cary Grant.\u003c/p>\n\u003cp>The journey from Archie to Cary is the subject of Mark Kidel’s enjoyable documentary, \u003cem>Becoming Cary Grant\u003c/em>. Weaving together the actor’s private home movies, excerpts from his unpublished writings and terrific clips from his Hollywood work, this Showtime film tells the story of an arduous act of self-invention.\u003c/p>\n\u003cp>Archie was born in working-class Bristol, England to a dapper, unreliable father and a hyper-ambitious mother, Elsie, who was ravaged by inner demons. When Archie was 11, he came home one day to find his mother gone — he wouldn’t learn why for 20 years.\u003c/p>\n\u003cp>In short order, the poor kid was shunted off to live with his grandparents. Small wonder that, seeing a performance by a group of acrobats, he was smitten by their free and confident lives. At 14, he joined their troupe — hence his famous physical grace, even in pratfalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Archie traveled with the company to New York, and when they went home, this dashing 18 year old stayed behind to work in vaudeville and in musical theater.\u003c/p>\n\u003cp>Despite a disastrously hammy first screen test — which Kidel shows us — he eventually found his way to Hollywood. There, a second screen test proved successful enough that he was ordered to change his name. He then became Cary Grant.\u003c/p>\n\u003cp>Even so, it took him several years and 28 movies until, in a brilliant screwball comedy called \u003cem>The Awful Truth\u003c/em>, he discovered how to capture — and radiate — the \u003cem>ease\u003c/em> that we think of as Cary Grant-ness. Once he did, he starred in some of the greatest movies ever, including \u003cem>Holiday\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Bringing Up Baby\u003c/em>, \u003cem>His Girl Friday\u003c/em>, \u003cem>Notorious\u003c/em> and \u003cem>North by Northwest\u003c/em>. I wouldn’t swap those six for the whole careers of Marlon Brando \u003cem>and\u003c/em> James Dean.\u003c/p>\n\u003cp>On screen, Grant always knew how to talk — and listen — to women. Off-screen, he messed up several marriages. Beneath his debonair facade, he was lonely, insecure and haunted by fears of being abandoned. \u003cem>\u003c/em>\u003c/p>\n\u003cp>It wasn’t until his 50s that he began finding peace — when a doctor began giving him LSD. Taking a \u003cem>hundred\u003c/em> trips, Grant confronted his past and learned how his mother’s abandonment had tainted his relationships with all women. He also began glimpsing a road to inner happiness. All of which makes Grant a better advertisement for dropping acid than anything Timothy Leary ever did.\u003c/p>\n\u003cp>Now, it’s not surprising that Grant was torn by personal wounds and a yearning for love. That’s common with stars. Even John Wayne spent his whole life trying, and failing, to win his mother’s affection. But Grant’s story is striking by the breadth of the chasm between his wounded inner self and his seductive persona that was attentive, buoyant and up for anything.\u003c/p>\n\u003cp>The best moments of \u003cem>Becoming Cary Grant\u003c/em> show how the Archie-Cary duality gave him an enthralling elusiveness on-screen. He was a layered actor whose provenance was neither English nor American, whose light touch could veer into darkness and whose work, as critic David Thomson shrewdly tells Kidel, played with the ambiguities of gender. No male star of his stature ever donned so many women’s clothes.\u003c/p>\n\u003cp>In the end, Grant was and remains the supreme incarnation of what I always think of as “The Movies,” a vanished form of collective dream in which people went to the movie palace to sink into a world more glamorous and exciting than their own. In this world, artificial surfaces gave rise to genuine feelings, and stars taught you how to act with grace, style and high spirits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant’s image was possibly the most glorious dream of them all, and as this documentary makes clear, he knew it. When an interviewer once told him, “\u003cem>Everyone\u003c/em> would like to be Cary Grant,” he replied, “\u003cem>I’d\u003c/em> like to be Cary Grant, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a classic moment in the romantic thriller \u003cem>Charade\u003c/em>, when Audrey Hepburn says to Cary Grant in exasperation, “Do you know what’s the matter with you? … Nothing.”\u003c/p>\n\u003cp>For decades, the whole world felt the same. Grant’s unrivaled blend of charm, good looks and silliness — he hadn’t a shred of pomposity or elitism — made him a movie star everyone loved. Everyone, that is, except Archie Leach, the actor’s real-life self who wrote that he’d spent years cautiously peering from behind the face of a man known as Cary Grant.\u003c/p>\n\u003cp>The journey from Archie to Cary is the subject of Mark Kidel’s enjoyable documentary, \u003cem>Becoming Cary Grant\u003c/em>. Weaving together the actor’s private home movies, excerpts from his unpublished writings and terrific clips from his Hollywood work, this Showtime film tells the story of an arduous act of self-invention.\u003c/p>\n\u003cp>Archie was born in working-class Bristol, England to a dapper, unreliable father and a hyper-ambitious mother, Elsie, who was ravaged by inner demons. When Archie was 11, he came home one day to find his mother gone — he wouldn’t learn why for 20 years.\u003c/p>\n\u003cp>In short order, the poor kid was shunted off to live with his grandparents. Small wonder that, seeing a performance by a group of acrobats, he was smitten by their free and confident lives. At 14, he joined their troupe — hence his famous physical grace, even in pratfalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Archie traveled with the company to New York, and when they went home, this dashing 18 year old stayed behind to work in vaudeville and in musical theater.\u003c/p>\n\u003cp>Despite a disastrously hammy first screen test — which Kidel shows us — he eventually found his way to Hollywood. There, a second screen test proved successful enough that he was ordered to change his name. He then became Cary Grant.\u003c/p>\n\u003cp>Even so, it took him several years and 28 movies until, in a brilliant screwball comedy called \u003cem>The Awful Truth\u003c/em>, he discovered how to capture — and radiate — the \u003cem>ease\u003c/em> that we think of as Cary Grant-ness. Once he did, he starred in some of the greatest movies ever, including \u003cem>Holiday\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Bringing Up Baby\u003c/em>, \u003cem>His Girl Friday\u003c/em>, \u003cem>Notorious\u003c/em> and \u003cem>North by Northwest\u003c/em>. I wouldn’t swap those six for the whole careers of Marlon Brando \u003cem>and\u003c/em> James Dean.\u003c/p>\n\u003cp>On screen, Grant always knew how to talk — and listen — to women. Off-screen, he messed up several marriages. Beneath his debonair facade, he was lonely, insecure and haunted by fears of being abandoned. \u003cem>\u003c/em>\u003c/p>\n\u003cp>It wasn’t until his 50s that he began finding peace — when a doctor began giving him LSD. Taking a \u003cem>hundred\u003c/em> trips, Grant confronted his past and learned how his mother’s abandonment had tainted his relationships with all women. He also began glimpsing a road to inner happiness. All of which makes Grant a better advertisement for dropping acid than anything Timothy Leary ever did.\u003c/p>\n\u003cp>Now, it’s not surprising that Grant was torn by personal wounds and a yearning for love. That’s common with stars. Even John Wayne spent his whole life trying, and failing, to win his mother’s affection. But Grant’s story is striking by the breadth of the chasm between his wounded inner self and his seductive persona that was attentive, buoyant and up for anything.\u003c/p>\n\u003cp>The best moments of \u003cem>Becoming Cary Grant\u003c/em> show how the Archie-Cary duality gave him an enthralling elusiveness on-screen. He was a layered actor whose provenance was neither English nor American, whose light touch could veer into darkness and whose work, as critic David Thomson shrewdly tells Kidel, played with the ambiguities of gender. No male star of his stature ever donned so many women’s clothes.\u003c/p>\n\u003cp>In the end, Grant was and remains the supreme incarnation of what I always think of as “The Movies,” a vanished form of collective dream in which people went to the movie palace to sink into a world more glamorous and exciting than their own. In this world, artificial surfaces gave rise to genuine feelings, and stars taught you how to act with grace, style and high spirits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant’s image was possibly the most glorious dream of them all, and as this documentary makes clear, he knew it. When an interviewer once told him, “\u003cem>Everyone\u003c/em> would like to be Cary Grant,” he replied, “\u003cem>I’d\u003c/em> like to be Cary Grant, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Becoming+Cary+Grant%27+Reveals+The+Self-Invention+Of+A+Hollywood+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From the pages of sober financial journals to Hollywood’s slapstick-econ adaptation of \u003cem>The Big Short\u003c/em>, commentators often note that no American banks were indicted in the wake of the 2008 financial cave-in. \u003cem>Hoop Dreams\u003c/em> director Steve James is here to say that’s not true. In May 2012, New York’s district attorney brought charges against Abacus Federal Savings Bank and 19 of its employees.\u003c/p>\n\u003cp>The case was little covered at the time, and while its outcome is a matter of public record, James prefers that reviewers not reveal whether the verdict was guilty, innocent, or mixed. That’s because his \u003cem>Abacus: Small Enough to Jail\u003c/em> is a compelling non-fiction thriller. It should engross most viewers, even those who’ve resisted learning what a subprime mortgage is.\u003c/p>\n\u003cp>As it happens, Abacus didn’t deal in subprime. The Chinatown-based bank also didn’t package its mortgages into the sort of financial instruments that made \u003cem>The Big Short\u003c/em>‘s machinations so arcane. In fact, the bank had one of the lowest default rates in the country.\u003c/p>\n\u003cp>The problem was a loan officer, Ken Yu, who asked borrowers for bribes and falsified income statements for mortgage applications. His activities were hard to track, because, as the film explains, Chinatown residents are more likely to make cash transactions than the average American consumer. Also, Yu spoke a dialect that even most of his fellow Abacus employees didn’t understand.\u003c/p>\n\u003cp>That includes Jill Sung and Vera Sung, the English-speaking, Connecticut-raised sisters who had inherited day-to-day operations from their father, one of the bank’s founders. Shanghai-born but all-American, Thomas Sung is a devotee of \u003cem>It’s a Wonderful Life\u003c/em>, an affection James could hardly help but exploit. Thomas Sung even once halted a bank run with the aplomb of James Stewart’s George Bailey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Abacus’ managers did eventually learn of Yu’s activities, and fired him and two others. They reported their suspicions to banking regulators, and were rewarded with the indictments. Yu became the chief witness for the prosecution, and the trial process lasted five years.\u003c/p>\n\u003cp>James was introduced to the story by a friend of the Sungs, and spent most of his time with the family. Yet he’s careful to present the government’s case, and to include interviews with the DA, Cyrus Vance Jr., and the lead prosecutor, Polly Greenberg. If they’re not quite so sympathetic as the Sungs, that begins with an astounding miscalculation: After indicting the Abacus employees, authorities chained them together and paraded them for a photo-op that even Vance calls “very unfortunate.”\u003c/p>\n\u003cp>Unable to cover the trial with cameras or recording equipment, the director sent a courtroom illustrator to capture some of the action. He paired that with audio reenactments based on the trial transcript.\u003c/p>\n\u003cp>Cinematically, the most important piece of the legal story is a juror who was inclined to vote guilty. Her recollections keep the narrative taut until what, in Frank Capra’s day, was termed the final reel.\u003c/p>\n\u003cp>Much of the movie, however, is concerned less with the trial than the Sung family. After the indictment, two other sisters rallied to the cause. James captures revealing and intimate conversations with the four siblings and their parents — including the mother who didn’t want her husband to go into banking.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the Sungs discuss strategy, food, and favorite movies, the film makes a compelling argument that no matter how the trial ends, targeting Abacus was an absurdly inappropriate substitute for prosecuting the behemoths who caused the 2008 debacle. This family was no more likely than George Bailey to peddle synthetic collateralized debt obligations. \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=%27Abacus%27%3A+The+Small+Chinatown+Bank+That+Paid+A+High+Price&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Wonder Woman\u003c/em> was a box office smash on its opening weekend, raking in more than $100 million domestically — a new record for a movie directed by a woman.\u003c/p>\n\u003cp>Deadline \u003ca href=\"https://deadline.com/2017/06/wonder-woman-captain-underpants-weekend-box-office-opening-1202106462/\" target=\"_blank\" rel=\"noopener\">reported Monday\u003c/a> that the final tally for the film was $103.1 million, even higher than the initial Sunday estimates.\u003c/p>\n\u003cp>That handily defeats the previous record for a movie directed by a woman — $85.1 million for Sam Taylor-Johnson’s \u003cem>Fifty Shades of Grey.\u003c/em>\u003c/p>\n\u003cp>And it compares well to similar movies — that is, superhero flicks that aren’t sequels or ensemble films. While it’s not as big as the opening weekend for \u003cem>Man of Steel\u003c/em> or \u003cem>Deadpool,\u003c/em> it easily surpasses \u003cem>Doctor Strange\u003c/em> and the first \u003cem>Iron Man,\u003c/em> \u003cem>Thor\u003c/em> and \u003cem>Captain America\u003c/em> movies.\u003c/p>\n\u003cp>Sales overseas were impressive too, as NPR movie critic Bob Mondello notes. The film has made $223 million internationally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s robust earnings are a big win for DC Comics, which has often struggled to match the success of Marvel properties at the box office.\u003c/p>\n\u003cp>And, of course, it’s a triumph for Patty Jenkins — the first woman to ever direct a big-budget superhero movie.\u003c/p>\n\u003cp>In fact, she’s only the second woman to single-handedly direct \u003cem>any\u003c/em>\u003cem> \u003c/em>Hollywood\u003cem> \u003c/em>live-action movie with a production budget over $100 million. The first was Kathryn Bigelow with \u003cem>K-19: The Widowmaker\u003c/em>, in 2002, \u003ca href=\"http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-a-milestone-but-shouldnt-be-1010023\" target=\"_blank\" rel=\"noopener\">according to the Hollywood Reporter.\u003c/a> (There won’t be another 15-year gap before the next one: Ava DuVernay and Niki Caro are both \u003ca href=\"https://www.theverge.com/2017/2/15/14622646/mulan-niki-caro-female-director-disney\" target=\"_blank\" rel=\"noopener\">working on major projects.\u003c/a>)\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> is Jenkins’ second feature, after \u003cem>Monster,\u003c/em> and she’s spent more than a decade working to make the movie happen. She \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">told CBS\u003c/a> that when her dream project became reality, it brought a sudden sense of pressure:\u003c/p>\n\u003cp>“The surreality of, ‘I can’t believe we’re getting to make \u003cem>Wonder Woman\u003c/em>,’ and also, ‘Oh my God, we have to make the greatest \u003cem>Wonder Woman\u003c/em> of all time!’ ” \u003ca href=\"https://www.youtube.com/watch?v=CVXo8WyHsUg\" target=\"_blank\" rel=\"noopener\">she said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The director in me wants this film that I made to succeed. But the person who’s not me at all, who lives inside of me … has heard people say for many years, ‘Ah, nobody would go see a female superhero film, women don’t like action,’ all those things. That part of me is watching, saying, ‘Ah, let’s prove them wrong.’ ” \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=%27Wonder+Woman%27+Smashes+Domestic+Box+Office+Record+For+Female+Directors&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bill Cosby went on trial Monday on charges he drugged and sexually assaulted a woman more than a decade ago, with a prosecutor warning the jury not to fall into the trap of confusing the 79-year-old comedian with the beloved family man he played on TV.\u003c/p>\n\u003cp>Cosby used his power and fame to violate an employee of Temple University’s basketball program, Assistant District Attorney Kristen Feden said in her opening statement. The TV star previously admitted under oath that he gave Andrea Constand pills and touched her genitals as she lay on his couch at his suburban Philadelphia mansion, the prosecutor said.\u003c/p>\n\u003cp>“She couldn’t say no,” Feden said. “She can’t move, she can’t talk. Completely paralyzed. Frozen. Lifeless.”\u003c/p>\n\u003cp>Defense lawyer Brian McMonagle immediately attacked what he said were inconsistencies in Constand’s story, disputed that Constand was incapacitated, and made the case that she and Cosby, who was married, had a romantic relationship. McMonagle said Cosby gave her the cold and allergy medicine Benadryl only after she complained she couldn’t sleep.\u003c/p>\n\u003cp>McMonagle said Constand changed the date of the encounter from mid-March to mid-January of 2004. And he said Constand initially told police that she and Cosby had never spoken afterward, when, in fact, phone records show the two talked 72 times after mid-January — with 53 of those calls initiated by Constand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby is charged with three counts of aggravated indecent assault. He could get 10 years in prison if convicted.\u003c/p>\n\u003cp>The TV star carried a wooden cane and grabbed his spokesman’s arm for support as he walked past dozens of cameras into the courthouse. Cosby’s wife, Camille, was not in court. But actress Keshia Knight Pulliam, who played his daughter Rudy on the top-rated \u003cem>Cosby Show\u003c/em> in the 1980s and ’90s, was at his side as he made his way into the building.\u003c/p>\n\u003cp>Cosby smiled but said nothing when someone asked how he was feeling.\u003c/p>\n\u003cp>Pulliam told reporters she came to the trial to support her TV dad.\u003c/p>\n\u003cp>“I want to be the person that I would like to have if the tables were turned,” she said. “Right now it’s the jury’s job and the jury’s decision to determine guilt or innocence. It’s not mine or anyone else’s.”\u003c/p>\n\u003cp>Constand, 44, of the Toronto area, is expected to take the stand this week and tell her story in public for the first time. A woman who claims Cosby drugged and assaulted her in 1996 will also testify in an effort by prosecutors to show that he had pattern of behavior.\u003c/p>\n\u003cp>Cosby built a good-guy reputation as a father and family man, on screen and off, during his extraordinary 50-year career in entertainment. He created TV characters, most notably Dr. Cliff Huxtable, with crossover appeal among blacks and whites alike. His TV shows, movies and comedy tours earned him an estimated $400 million.\u003c/p>\n\u003cp>Then a deposition unsealed in 2015 in a lawsuit brought by Constand revealed that Cosby had a long history of extramarital liaisons with young women and that he obtained quaaludes in the 1970s to give to women before sex. Dozens of women soon came forward to say he had drugged and assaulted them.\u003c/p>\n\u003cp>The statute of limitations for prosecuting Cosby had run out in nearly every case. This is the only one to result in criminal charges against the comic.\u003c/p>\n\u003cp>Feden told jurors that celebrities like Cosby are seen as “larger than life.”\u003c/p>\n\u003cp>“We think we really know them,” she said. “In reality, we only have a glimpse of who they really are.”\u003c/p>\n\u003cp>Prosecutors had wanted to call as many as 13 of Cosby’s more than 60 accusers as witnesses, but Montgomery County Judge Steven O’Neill ruled that only Constand and the other woman could take the stand.\u003c/p>\n\u003cp>Celebrity attorney Gloria Allred, who showed up for the first day of the trial, told reporters she is hopeful “there will be justice in this case.”\u003c/p>\n\u003cp>Allred represents several of Cosby’s accusers, including the one who will testify for the prosecution — a woman who worked for the comedian’s agent at the William Morris agency.\u003c/p>\n\u003cp>“This case is not going to be decided on optics,” Allred said. “It’s going to be decided on the evidence, and finally, it’s Mr. Cosby who’s going to have to face that evidence and confront the accusers who are against him.”\u003c/p>\n\u003cp>Constand filed a police complaint in 2005 over the encounter at Cosby’s home. The district attorney at the time said the case was too weak to prosecute. But a new set of prosecutors charged Cosby a year and a half ago after the deposition became public and numerous women came forward.\u003c/p>\n\u003cp>On Monday, McMonagle suggested Constand and the other accuser set to testify were seeking payouts over the allegations. And he told jurors that Cosby apologized to Constand’s mother in a phone call the year after the encounter not because he had assaulted her, but to say, “I’m sorry, I’m a married man, and I never should have done it.”\u003c/p>\n\u003cp>Cosby’s lawyers tried repeatedly to get the case thrown out. They said Cosby testified in the lawsuit only after being promised he could never be charged. And they argued that the delayed prosecution makes the case impossible to defend, given that witnesses have died, memories have faded and Cosby, they say, is blind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP does not typically identify people who say they are sexual assault victims unless they grant permission, which Constand has done.\u003cbr>\n___\u003cbr>\nFor more on Cosby, including trial updates, historical photos, videos and an audio series exploring the case, visit: www.apnews.com/tag/CosbyonTrial\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Cosby went on trial Monday on charges he drugged and sexually assaulted a woman more than a decade ago, with a prosecutor warning the jury not to fall into the trap of confusing the 79-year-old comedian with the beloved family man he played on TV.\u003c/p>\n\u003cp>Cosby used his power and fame to violate an employee of Temple University’s basketball program, Assistant District Attorney Kristen Feden said in her opening statement. The TV star previously admitted under oath that he gave Andrea Constand pills and touched her genitals as she lay on his couch at his suburban Philadelphia mansion, the prosecutor said.\u003c/p>\n\u003cp>“She couldn’t say no,” Feden said. “She can’t move, she can’t talk. Completely paralyzed. Frozen. Lifeless.”\u003c/p>\n\u003cp>Defense lawyer Brian McMonagle immediately attacked what he said were inconsistencies in Constand’s story, disputed that Constand was incapacitated, and made the case that she and Cosby, who was married, had a romantic relationship. McMonagle said Cosby gave her the cold and allergy medicine Benadryl only after she complained she couldn’t sleep.\u003c/p>\n\u003cp>McMonagle said Constand changed the date of the encounter from mid-March to mid-January of 2004. And he said Constand initially told police that she and Cosby had never spoken afterward, when, in fact, phone records show the two talked 72 times after mid-January — with 53 of those calls initiated by Constand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby is charged with three counts of aggravated indecent assault. He could get 10 years in prison if convicted.\u003c/p>\n\u003cp>The TV star carried a wooden cane and grabbed his spokesman’s arm for support as he walked past dozens of cameras into the courthouse. Cosby’s wife, Camille, was not in court. But actress Keshia Knight Pulliam, who played his daughter Rudy on the top-rated \u003cem>Cosby Show\u003c/em> in the 1980s and ’90s, was at his side as he made his way into the building.\u003c/p>\n\u003cp>Cosby smiled but said nothing when someone asked how he was feeling.\u003c/p>\n\u003cp>Pulliam told reporters she came to the trial to support her TV dad.\u003c/p>\n\u003cp>“I want to be the person that I would like to have if the tables were turned,” she said. “Right now it’s the jury’s job and the jury’s decision to determine guilt or innocence. It’s not mine or anyone else’s.”\u003c/p>\n\u003cp>Constand, 44, of the Toronto area, is expected to take the stand this week and tell her story in public for the first time. A woman who claims Cosby drugged and assaulted her in 1996 will also testify in an effort by prosecutors to show that he had pattern of behavior.\u003c/p>\n\u003cp>Cosby built a good-guy reputation as a father and family man, on screen and off, during his extraordinary 50-year career in entertainment. He created TV characters, most notably Dr. Cliff Huxtable, with crossover appeal among blacks and whites alike. His TV shows, movies and comedy tours earned him an estimated $400 million.\u003c/p>\n\u003cp>Then a deposition unsealed in 2015 in a lawsuit brought by Constand revealed that Cosby had a long history of extramarital liaisons with young women and that he obtained quaaludes in the 1970s to give to women before sex. Dozens of women soon came forward to say he had drugged and assaulted them.\u003c/p>\n\u003cp>The statute of limitations for prosecuting Cosby had run out in nearly every case. This is the only one to result in criminal charges against the comic.\u003c/p>\n\u003cp>Feden told jurors that celebrities like Cosby are seen as “larger than life.”\u003c/p>\n\u003cp>“We think we really know them,” she said. “In reality, we only have a glimpse of who they really are.”\u003c/p>\n\u003cp>Prosecutors had wanted to call as many as 13 of Cosby’s more than 60 accusers as witnesses, but Montgomery County Judge Steven O’Neill ruled that only Constand and the other woman could take the stand.\u003c/p>\n\u003cp>Celebrity attorney Gloria Allred, who showed up for the first day of the trial, told reporters she is hopeful “there will be justice in this case.”\u003c/p>\n\u003cp>Allred represents several of Cosby’s accusers, including the one who will testify for the prosecution — a woman who worked for the comedian’s agent at the William Morris agency.\u003c/p>\n\u003cp>“This case is not going to be decided on optics,” Allred said. “It’s going to be decided on the evidence, and finally, it’s Mr. Cosby who’s going to have to face that evidence and confront the accusers who are against him.”\u003c/p>\n\u003cp>Constand filed a police complaint in 2005 over the encounter at Cosby’s home. The district attorney at the time said the case was too weak to prosecute. But a new set of prosecutors charged Cosby a year and a half ago after the deposition became public and numerous women came forward.\u003c/p>\n\u003cp>On Monday, McMonagle suggested Constand and the other accuser set to testify were seeking payouts over the allegations. And he told jurors that Cosby apologized to Constand’s mother in a phone call the year after the encounter not because he had assaulted her, but to say, “I’m sorry, I’m a married man, and I never should have done it.”\u003c/p>\n\u003cp>Cosby’s lawyers tried repeatedly to get the case thrown out. They said Cosby testified in the lawsuit only after being promised he could never be charged. And they argued that the delayed prosecution makes the case impossible to defend, given that witnesses have died, memories have faded and Cosby, they say, is blind.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The AP does not typically identify people who say they are sexual assault victims unless they grant permission, which Constand has done.\u003cbr>\n___\u003cbr>\nFor more on Cosby, including trial updates, historical photos, videos and an audio series exploring the case, visit: www.apnews.com/tag/CosbyonTrial\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British actor Peter Sallis, who played irrepressible, cheese-loving inventor Wallace in the \u003cem>Wallace and Gromit\u003c/em> cartoons, has died, his agent said Monday. He was 96.\u003c/p>\n\u003cp>Sallis’ talent agency, Jonathan Altaras Associates, said he died Friday at a retirement home for actors in London.\u003c/p>\n\u003cp>Born in London in 1921, Sallis began his working life in a bank, but caught the acting bug as a Royal Air Force serviceman during World War II. After the war, he attended the Royal Academy of Dramatic Art and built up a diverse career onstage and in British film and television.\u003c/p>\n\u003cp>He became famous in Britain as a star of the long-running sitcom \u003cem>Last of the Summer Wine\u003c/em>. Sallis was proud to have appeared in every episode during the show’s 37-year run.\u003c/p>\n\u003cp>Millions around the world know his voice from animator Nick Park’s \u003cem>Wallace and Gromit\u003c/em>, which charted the adventures of a cheese-loving Yorkshireman with a passion for inventing wild contraptions and his level-headed, silent dog, Gromit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With their old-fashioned stop-motion animation and lightly anarchic British humor, Park’s short films, feature and BBC series gained fans around the world.\u003c/p>\n\u003cp>Two of the films, \u003cem>The Wrong Trousers\u003c/em> and \u003cem>A Close Shave\u003c/em> won Academy Awards.\u003c/p>\n\u003cp>The bald, green-vested character Sallis voiced between 1989 and 2010 was instantly recognizable from his down-to-earth Yorkshire accent and frequent exclamation of “Cheese, Gromit!”\u003c/p>\n\u003cp>Park said Sallis “was always my first and only choice for Wallace.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He brought his unique gift and humor to all that he did, and encapsulated the very British art of the droll and understated,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Peter Sallis, who played irrepressible, cheese-loving inventor Wallace in the \u003cem>Wallace and Gromit\u003c/em> cartoons, has died, his agent said Monday. He was 96.\u003c/p>\n\u003cp>Sallis’ talent agency, Jonathan Altaras Associates, said he died Friday at a retirement home for actors in London.\u003c/p>\n\u003cp>Born in London in 1921, Sallis began his working life in a bank, but caught the acting bug as a Royal Air Force serviceman during World War II. After the war, he attended the Royal Academy of Dramatic Art and built up a diverse career onstage and in British film and television.\u003c/p>\n\u003cp>He became famous in Britain as a star of the long-running sitcom \u003cem>Last of the Summer Wine\u003c/em>. Sallis was proud to have appeared in every episode during the show’s 37-year run.\u003c/p>\n\u003cp>Millions around the world know his voice from animator Nick Park’s \u003cem>Wallace and Gromit\u003c/em>, which charted the adventures of a cheese-loving Yorkshireman with a passion for inventing wild contraptions and his level-headed, silent dog, Gromit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paris is for lovers, and éclair connoisseurs, and culture-happy hedonists. Jef Costello, the taciturn protagonist of Jean-Pierre Melville’s 1967 existential masterpiece \u003cem>Le Samourai\u003c/em>, is none of those things. He’s a hit man and, as played by the impossibly handsome and sharply dressed Alain Delon, he takes his pleasure in the ritual preparation for his assignment. \u003cem>Le Samourai\u003c/em> miraculously walks the line between absurdist parody (the hero sandwich of quintessential French actor, Japanese-style austerity and American moniker) and existential purity, making it the perfect choice to launch the BAMPFA retrospective “\u003ca href=\"http://www.bampfa.berkeley.edu/program/melville-100\" target=\"_blank\" rel=\"noopener noreferrer\">Melville 100\u003c/a>” this Thursday, June 8 (with an encore screening June 16).\u003c/p>\n\u003cp>The rediscovery and revival of vintage film noir in recent years is a welcome development, but modern moviegoers tend to bask a bit too much in the genre’s trademark vagaries of fate and neatly crafted ironies. Melville had no room for cheap emotion or empty sentimentality; his experience as a young man in the Resistance snuffed any illusions he had about the nature of human beings. It also recalibrated his moral compass, such that true north had nothing to do with the law or the prevailing acceptance of social conventions. Melville was a genuinely uncompromising artist whose characters were relentlessly true to themselves. In these times, Melville is a beacon. BAMPFA’s “Melville 100” continues through August 12.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\u003c/p>\n\u003cp>https://youtu.be/VSB4wGIdDwo\u003c/p>\n\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Princess Diana of Themyscira was sculpted from clay by her mother, Queen Hippolyta, brought to life by Aphrodite and bequeathed her superhuman powers by the Greek gods. Over the 75 years she has been kept off the big screen, her fitful appearances on the small screen, most notably in the Lynda Carter TV series and on animated shows like \u003cem>Super Friends\u003c/em> and \u003cem>Justice League\u003c/em>, have made it easy to forget that Wonder Woman is not one of us. She wasn’t bitten by a radioactive spider or transformed by some environmental cataclysm and instead was born a demigod, above and apart from the flaws and frailties of humankind.\u003c/p>\n\u003cp>Of the many things the new \u003cem>Wonder Woman\u003c/em> gets right, the first and most important is a triumph of scale, of emphasizing the alien immensity of Princess Diana before she mingles with humans and accepts her civilian alter ego, Diana Prince. In that respect, director Patty Jenkins has successfully modeled the classicism of the original 1978 \u003cem>Superman\u003c/em>, which also builds up the alien mythos of its hero before Clark Kent turns up in nerd glasses and identifies more closely with the denizens of his adopted planet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VSB4wGIdDwo'\n title='//www.youtube.com/embed/VSB4wGIdDwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not unfair to say that Jenkins has gone the conservative route, adopting a risk-averse strategy that is closer to the tightly managed Marvel Cinematic Universe than that of Wonder Woman’s DC Comics. With its World War I adventure plot, in fact, \u003cem>Wonder Woman \u003c/em>could be tagged a gender-reversed \u003cem>Captain America: The First Avenger\u003c/em>. But the conservative choice also happens to be the right one, and the film has the scale and storytelling clarity to sell the mythology and give Princess Diana the stature her many titles suggest. Here, she is a figure of remarkable totemic power.\u003c/p>\n\u003cp>The most critical stretch of the film — and the best — comes at the beginning, when Diana (Gal Gadot) is growing up among the other Amazon women on Themyscira, an island cloaked by an invisible shield to protect its inhabitants from Ares, the god of war. Over the objections of Queen Hippolyta (Connie Nielsen), Diana starts training with her aunt, General Antiope (Robin Wright), for the epic battle they’re all certain will eventually reach their shores. For as long as it remains untouched, the island is an appealing feminine utopia of benevolent values and esprit de corps, a powerful contrast to the fractious world outside its magical borders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That innocence is lost when Steve Trevor (Chris Pine), a U.S. fighter pilot, crash-lands on Themyscira and brings the war with him. After she and her fellow warriors fend off Steve’s German attackers, Diana takes an interest in him — he is the first man she has ever met, after all — and in the call to end World War I, which she is certain is Ares’ handiwork. Packing her bulletproof bracelets, her golden “Lasso of Truth” and a “God-Killer” sword with which to slay Ares, Diana ships off to London with Steve, joining his covert mission to dismantle a weapons program headed by a power-mad general (Danny Huston) and a chemist named Doctor Poison (Elena Anaya).\u003c/p>\n\u003cp>Before sending her off into war, \u003cem>Wonder Woman\u003c/em> takes advantage of the fish-out-of-water comedy of Diana leaving her tranquil island paradise for the soot-choked gray of industrialized London, where women don’t enjoy the freedoms to which she is accustomed. Gadot’s physical presence as Wonder Woman was established in \u003cem>Batman v Superman: Dawn of Justice\u003c/em>, but she handles the Diana Prince side with equal dexterity, whether puzzling over the excessive formalities of early 20th century womanhood or trading banter with Steve and his abashed comrades. Diana’s near-invulnerability to human dictates gives her the freedom to dismiss their social mores, which can be played as alternately funny and empowering.\u003c/p>\n\u003cp>\u003cem>Wonder Woman\u003c/em> loses some of its edge when the uniqueness of her origin story and her acclimation to people and a new environment gives way to more familiar effects-driven conflict. The original comic had Steve and Diana fighting Nazis, and while the shift back to World War I is a sensible choice, given the overwhelming nature of Nazi iconography, it occasionally flattens the film into rote action-adventure. Once the showdown with Ares finally materializes, Jenkins can’t solve the common problem that god-versus-god matchups tend to result in two characters tightening their faces and shooting beams of light at each other.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even in its weaker moments, \u003cem>Wonder Woman \u003c/em>honors the scale of a superhero who stands alongside Superman and Batman in the DC lexicon but has never had a vehicle worthy of her. Jenkins and Gadot do the hard work of properly establishing her stature on screen for the first time. She can go anywhere from here.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actress Chloe Grace Moretz and the creators of her upcoming animated film apologized Wednesday after promotional materials were criticized of body shaming women.\u003c/p>\n\u003cp>Moretz, 20, wrote on Twitter that she had talked to producers for the film “Red Shoes & the 7 Dwarfs” about the marketing choices, including a billboard appearing at the Cannes Film Festival last week. The ad depicted a tall, thin woman in red heels next to a shorter, heavier version of herself holding her heels. The tagline promoted a Snow White who was no longer beautiful.\u003c/p>\n\u003cp>A trailer posted by South Korea-based Locus Creative Studios showed two dwarfs hiding in Snow White’s bedroom watching her undress after a night out. After kicking off her red heels, the Snow White character is shown as a heavier woman lounging in her underwear.\u003c/p>\n\u003cp>The company removed the trailer from its YouTube channel after social media users criticized the film’s ads.\u003c/p>\n\u003cp>Locus apologized for the billboard and trailer in an email. The company will terminate the current promos, saying they had the opposite effect of what was intended.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Our film, a family comedy, carries a message designed to challenge social prejudices related to standards of physical beauty in society by emphasizing the importance of inner beauty,” the studio said.\u003c/p>\n\u003cp>Moretz wrote that she stands behind the film’s script, which she says tells a powerful message to young women.\u003c/p>\n\u003cp>“The actual story is powerful for young women and resonated with me,” Moretz wrote. “I am sorry for the offense that was beyond my creative control.”\u003c/p>\n\u003cp>The film has no release date.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moretz has starred in films including \u003cem>Neighbors 2: Sorority Rising,\u003c/em> and \u003cem>Kick-Ass\u003c/em> and its sequel.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Chloe Grace Moretz and the creators of her upcoming animated film apologized Wednesday after promotional materials were criticized of body shaming women.\u003c/p>\n\u003cp>Moretz, 20, wrote on Twitter that she had talked to producers for the film “Red Shoes & the 7 Dwarfs” about the marketing choices, including a billboard appearing at the Cannes Film Festival last week. The ad depicted a tall, thin woman in red heels next to a shorter, heavier version of herself holding her heels. The tagline promoted a Snow White who was no longer beautiful.\u003c/p>\n\u003cp>A trailer posted by South Korea-based Locus Creative Studios showed two dwarfs hiding in Snow White’s bedroom watching her undress after a night out. After kicking off her red heels, the Snow White character is shown as a heavier woman lounging in her underwear.\u003c/p>\n\u003cp>The company removed the trailer from its YouTube channel after social media users criticized the film’s ads.\u003c/p>\n\u003cp>Locus apologized for the billboard and trailer in an email. The company will terminate the current promos, saying they had the opposite effect of what was intended.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Christopher Scott did 13 years of hard time before the actual perpetrator confessed to the crime. Now he heads a Dallas detective agency that investigates wrongful-conviction cases with the aim of freeing other innocent people. In \u003cem>\u003ca href=\"http://www.roxie.ai1ec_event/docfest-true-conviction/?instance_id=\" target=\"_blank\" rel=\"noopener noreferrer\">True Conviction\u003c/a>\u003c/em> (Saturday, June 3 at the Roxie), the new documentary by local filmmaker Jamie Meltzer, the dedicated, emotional Scott does double duty as an emblem of social justice and a compelling character in his own right. That description, as it happens, applies to quite a few of the protagonists in the \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener noreferrer\">SF DocFest\u003c/a> program.\u003c/p>\n\u003cp>Since its inception, DocFest (May 31-June 15 at the Roxie and the Vogue, with opening night at Alamo Drafthouse) has compiled a colorful scrapbook of genuine characters in contrast to the current events survey, educational seminar or social-issue forum that defines many documentary series. \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284896~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Gip\u003c/a>\u003c/em> (June 11) is a profile of an Alabama bluesman-gravedigger-juke joint owner, while \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284903~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Nat Bates for Mayor\u003c/a>\u003c/em> (world premiere, June 10 and 15) traces the race for Richmond’s top office in 2014 through the titular controversial politician. Another local saga propels the world premiere of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em> (opening night, May 31), while one of local filmdom’s gen-u-ine iconoclasts, Stephen Parr of Oddball Films, screens a two-hour mashup of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284915~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Sonic Oddities\u003c/a>\u003c/em> (June 13) from his humongous personal collection.\u003c/p>\n\u003cp>The aforementioned Jamie Meltzer’s wonderful 2003 doc, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284904~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Charts: The Song-Poem Story\u003c/a>\u003c/em> (June 4), amasses the greatest collection of unique characters under one roof in the entire festival, for my money. This is a bonus screening of sorts, to celebrate the presentation of DocFest’s Non-Fiction Vanguard Award to the gifted filmmaker and beloved Stanford prof at \u003cem>True Conviction\u003c/em> the night before. (Full disclosure: This writer will interview Meltzer onstage after both films.) There are one or two people in \u003cem>Off the Charts\u003c/em> you won’t soon forget, which could be said about nearly every film in DocFest. That’s one of the pleasures of scrapbooks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christopher Scott did 13 years of hard time before the actual perpetrator confessed to the crime. Now he heads a Dallas detective agency that investigates wrongful-conviction cases with the aim of freeing other innocent people. In \u003cem>\u003ca href=\"http://www.roxie.ai1ec_event/docfest-true-conviction/?instance_id=\" target=\"_blank\" rel=\"noopener noreferrer\">True Conviction\u003c/a>\u003c/em> (Saturday, June 3 at the Roxie), the new documentary by local filmmaker Jamie Meltzer, the dedicated, emotional Scott does double duty as an emblem of social justice and a compelling character in his own right. That description, as it happens, applies to quite a few of the protagonists in the \u003ca href=\"http://sfindie.com/festivals/sf-docfest/\" target=\"_blank\" rel=\"noopener noreferrer\">SF DocFest\u003c/a> program.\u003c/p>\n\u003cp>Since its inception, DocFest (May 31-June 15 at the Roxie and the Vogue, with opening night at Alamo Drafthouse) has compiled a colorful scrapbook of genuine characters in contrast to the current events survey, educational seminar or social-issue forum that defines many documentary series. \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284896~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Gip\u003c/a>\u003c/em> (June 11) is a profile of an Alabama bluesman-gravedigger-juke joint owner, while \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284903~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Nat Bates for Mayor\u003c/a>\u003c/em> (world premiere, June 10 and 15) traces the race for Richmond’s top office in 2014 through the titular controversial politician. Another local saga propels the world premiere of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em> (opening night, May 31), while one of local filmdom’s gen-u-ine iconoclasts, Stephen Parr of Oddball Films, screens a two-hour mashup of \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284915~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Sonic Oddities\u003c/a>\u003c/em> (June 13) from his humongous personal collection.\u003c/p>\n\u003cp>The aforementioned Jamie Meltzer’s wonderful 2003 doc, \u003cem>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284904~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Off the Charts: The Song-Poem Story\u003c/a>\u003c/em> (June 4), amasses the greatest collection of unique characters under one roof in the entire festival, for my money. This is a bonus screening of sorts, to celebrate the presentation of DocFest’s Non-Fiction Vanguard Award to the gifted filmmaker and beloved Stanford prof at \u003cem>True Conviction\u003c/em> the night before. (Full disclosure: This writer will interview Meltzer onstage after both films.) There are one or two people in \u003cem>Off the Charts\u003c/em> you won’t soon forget, which could be said about nearly every film in DocFest. That’s one of the pleasures of scrapbooks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Thriller 'Desierto' Captures Immigration Hellscape at the US/Mexico Border",
"headTitle": "Thriller ‘Desierto’ Captures Immigration Hellscape at the US/Mexico Border | KQED",
"content": "\u003cp>How much is a Mexican life worth? Since 2006, there have been \u003ca href=\"https://news.vice.com/story/ten-years-into-mexicos-drug-war-the-violence-in-acapulco-rages-on\" target=\"_blank\" rel=\"noopener noreferrer\">150,000 homicides and 28,000 “disappeared” in Mexico\u003c/a> — and \u003ca href=\"http://www.dw.com/en/unsolved-crime-rate-in-mexico-climbs-to-93-percent/a-35919079\" target=\"_blank\" rel=\"noopener noreferrer\">93 percent of violent crimes and homicides have never been prosecuted\u003c/a>. On average, Mexicans pay smugglers \u003ca href=\"https://www.nytimes.com/2017/05/05/opinion/sunday/mexican-drug-smugglers-to-trump-thanks.html?ref=opinion\" target=\"_blank\" rel=\"noopener noreferrer\">$2,500 to $5,000\u003c/a> to help them illegally cross the border. Several thousand migrants die each year on their journey into the United States; many have been found buried in clandestine graves, their bones packed in milk crates.\u003c/p>\n\u003cp>Does the value of a Mexican life change once it enters the United States? For director Jonás Cuarón, whose film \u003cem>Desierto\u003c/em> screens May 28 at the Roxie, the answer is yes. Cuarón describes \u003cem>Desierto\u003c/em> as a cautionary tale, depicting the dangers migrants might endure to cross our border. But in the film — as in reality — once those migrants enter the United States, the violence they encounter has just begun.\u003c/p>\n\u003cfigure id=\"attachment_13304904\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304904\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, what is the value of a Mexican body? To vigilante groups like the Minutemen or the \u003ca href=\"http://www.newsweek.com/2014/08/01/texan-ranchers-hunt-daily-illegal-immigrants-260489.html\" target=\"_blank\" rel=\"noopener noreferrer\">Texas Border Volunteers\u003c/a>, the answer would be: worthless. In order to “defend their land,” groups like these hunt migrants for sport. Ranchers intentionally make their land inhospitable, with electric fences and no safe drinking water, making traversal of the land near-impossible. The Texas Border Volunteers chase the migrants in trucks, many of whom are dehydrated, and have already walked hundreds of miles across the desert, until they collapse from fear and exhaustion and ICE is called to quickly deport them.\u003c/p>\n\u003cp>When the Texas Border Volunteers find migrants who have died on their land, they take photographs of the bodies, which are often missing limbs or eyes from being scavenged, and hang these photos on their hunting walls: prizes to be remembered, “success stories” to be collected.\u003c/p>\n\u003cp>So the premise of the thriller \u003cem>Desierto\u003c/em>, of Mexican and Central American migrants crossing the border and trying to escape a vigilante who shoots “illegals” for sport, is far from fictional. The view persists in America, dramatized by \u003cem>Desierto\u003c/em>’s villain, Sam, that the only good brown person is a dead one.\u003c/p>\n\u003cfigure id=\"attachment_13304905\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years in the making, \u003cem>Desierto\u003c/em> premiered in 2015 at the Toronto International Film Festival. Gael García Bernal plays the lead character, Moises, a Mexican migrant trying to reunite with his family in California. During filming, Bernal joked with Cuarón that by the time the film was completed, immigration would no longer be a hot-button issue. Cuarón never predicted the film would become even more relevant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started developing the character of [Sam, played by] Jeffrey Dean Morgan, it was impossible not to have as a reference all of the vigilante groups that existed on the border, like the Minutemen, when I was writing,” says Cuarón. “But to me, Jeffrey’s character, more than being specific to the Minutemen or vigilante groups, represented what society can get to if we keep allowing all of this rhetoric of hatred toward migrants to be used by politicians and media.”\u003c/p>\n\u003cp>\u003cem>Desierto\u003c/em> opens with an expansive shot of the vast, inhospitable desert. A truck containing smuggled migrants breaks down, forcing 14 people to start their journey across the most dangerous part of the border on foot.\u003c/p>\n\u003cfigure id=\"attachment_13304906\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the coyotes (human smugglers) sprint across the desert, leaving those who are fatigued and less able-bodied behind, danger looms. Sam appears with his rifle, aiming for the migrants, gunning down nine of them in minutes. Moises and a group of four others spend the rest of the film trying to outrun and hide from Sam, and his murderous dog Tracker.\u003c/p>\n\u003cp>Throughout the film, we learn little about the migrants, Sam, or their motivations. I wondered if Cuarón chose to tell the story of \u003cem>Desierto\u003c/em> in this way to mirror what happens when thousands die on their journey to the United States: their bodies are found, often without identification, and we never know their story.\u003c/p>\n\u003cp>“In \u003cem>Desierto\u003c/em>, I really wanted the narrative to pop in the present tense. I wanted it to be a movie that once the action started, it didn’t stop. So it was really hard to find scenes where I could find an organic way to tell the backstory of these characters,” Cuarón explains.\u003c/p>\n\u003cp>“No matter what happened to Jeffrey Dean Morgan’s character [Sam], nothing justifies his actions,” he says. “And at the same time, no matter what the backstory of any of those migrants had been, even if they had been cruel people, nothing justifies or takes away from the cruelty of Jeffrey Dean Morgan’s actions.”\u003c/p>\n\u003cp>To Cuarón, his migrant characters, like those in real life, are simply searching for a better life, and he wanted to convey the tragedy of those lives being stolen from them.\u003c/p>\n\u003cp>https://youtu.be/OIdPSVKZsD4\u003c/p>\n\u003cp>That idea of a “search for a better life” often gets whitewashed, reduced to a pat phrase that doesn’t address the complex combination of forces impacting Mexican and Central American migrants.\u003c/p>\n\u003cp>Guadalupe Correa-Cabrera, an associate professor of political science at the University of Texas Rio Grande Valley, and the author of \u003cem>\u003ca href=\"https://utpress.utexas.edu/books/correa-cabrera-los-zetas-inc\" target=\"_blank\" rel=\"noopener noreferrer\">Los Zetas Inc.: Criminal Corporations, Energy and Civil War in Mexico\u003c/a>\u003c/em>, has spent the last six years conducting hundreds of interviews with migrants, military operatives, former drug cartel members, border patrol agents and migrant rights activists from Mexico and the Northern Triangle. Her deeply informed book covers the history, dangerous conditions, and economic plight of the regions controlled by the drug cartel Los Zetas, arguing that the cartel has become a highly sophisticated, profitable operation, similar to a transnational corporation.\u003c/p>\n\u003cp>“We need to acknowledge that there is more than one cause that makes people flee from their countries or look for a better life,” says Correa-Cabrera. “The media portrays this phenomenon as if most of the migrants who come from Central America are fleeing from violence and flying from gangs. And that’s not necessarily not true.” Some are escaping violence, yes, but others seek the economic advantages and opportunities their home country can’t provide.\u003c/p>\n\u003cp>Family separation, as is the case for Moises in \u003cem>Desierto\u003c/em>, is another a motivating factor for those risking their lives to cross the border.\u003c/p>\n\u003cp>“Overall we have seen that the dangers have increased,” says Correa-Cabrera, “that the drug trafficking organizations, local gangs, et cetera have started to extort migrants, rape women, rape children.” Migrants are willing to take the risk, Correa-Cabrera adds. “There are two powerful reasons they don’t care. They want to be reunified with their families in the United States, and it is true that their life will change [once in the U.S.]. The situation that they face in their country of origin makes it impossible for them to survive economically — sometimes even their physical integrity is in danger.”\u003c/p>\n\u003cp>How much is a migrants’ life worth? For the lives in \u003cem>Desierto\u003c/em> and the real world, exactly as much as they can be exploited, and nothing if they can’t. Dehumanized before they even leave their birth country, is it any wonder that their humanity is also denied at the border?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Desierto’ plays at San Francisco’s Roxie Theater at 6pm on Sunday, May 28, followed by a Q&A with director Jonás Cuarón. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/desierto/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "When his border-crossing thriller 'Desierto' premiered in 2015 after eight years of production, director Jonás Cuarón never predicted the film would become even more relevant in the intervening years.",
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"title": "Thriller 'Desierto' Captures Immigration Hellscape at the US/Mexico Border | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How much is a Mexican life worth? Since 2006, there have been \u003ca href=\"https://news.vice.com/story/ten-years-into-mexicos-drug-war-the-violence-in-acapulco-rages-on\" target=\"_blank\" rel=\"noopener noreferrer\">150,000 homicides and 28,000 “disappeared” in Mexico\u003c/a> — and \u003ca href=\"http://www.dw.com/en/unsolved-crime-rate-in-mexico-climbs-to-93-percent/a-35919079\" target=\"_blank\" rel=\"noopener noreferrer\">93 percent of violent crimes and homicides have never been prosecuted\u003c/a>. On average, Mexicans pay smugglers \u003ca href=\"https://www.nytimes.com/2017/05/05/opinion/sunday/mexican-drug-smugglers-to-trump-thanks.html?ref=opinion\" target=\"_blank\" rel=\"noopener noreferrer\">$2,500 to $5,000\u003c/a> to help them illegally cross the border. Several thousand migrants die each year on their journey into the United States; many have been found buried in clandestine graves, their bones packed in milk crates.\u003c/p>\n\u003cp>Does the value of a Mexican life change once it enters the United States? For director Jonás Cuarón, whose film \u003cem>Desierto\u003c/em> screens May 28 at the Roxie, the answer is yes. Cuarón describes \u003cem>Desierto\u003c/em> as a cautionary tale, depicting the dangers migrants might endure to cross our border. But in the film — as in reality — once those migrants enter the United States, the violence they encounter has just begun.\u003c/p>\n\u003cfigure id=\"attachment_13304904\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304904\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-2-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, what is the value of a Mexican body? To vigilante groups like the Minutemen or the \u003ca href=\"http://www.newsweek.com/2014/08/01/texan-ranchers-hunt-daily-illegal-immigrants-260489.html\" target=\"_blank\" rel=\"noopener noreferrer\">Texas Border Volunteers\u003c/a>, the answer would be: worthless. In order to “defend their land,” groups like these hunt migrants for sport. Ranchers intentionally make their land inhospitable, with electric fences and no safe drinking water, making traversal of the land near-impossible. The Texas Border Volunteers chase the migrants in trucks, many of whom are dehydrated, and have already walked hundreds of miles across the desert, until they collapse from fear and exhaustion and ICE is called to quickly deport them.\u003c/p>\n\u003cp>When the Texas Border Volunteers find migrants who have died on their land, they take photographs of the bodies, which are often missing limbs or eyes from being scavenged, and hang these photos on their hunting walls: prizes to be remembered, “success stories” to be collected.\u003c/p>\n\u003cp>So the premise of the thriller \u003cem>Desierto\u003c/em>, of Mexican and Central American migrants crossing the border and trying to escape a vigilante who shoots “illegals” for sport, is far from fictional. The view persists in America, dramatized by \u003cem>Desierto\u003c/em>’s villain, Sam, that the only good brown person is a dead one.\u003c/p>\n\u003cfigure id=\"attachment_13304905\" class=\"wp-caption aligncenter\" style=\"max-width: 670px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"670\" height=\"377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment.jpg 670w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-3-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 670px) 100vw, 670px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years in the making, \u003cem>Desierto\u003c/em> premiered in 2015 at the Toronto International Film Festival. Gael García Bernal plays the lead character, Moises, a Mexican migrant trying to reunite with his family in California. During filming, Bernal joked with Cuarón that by the time the film was completed, immigration would no longer be a hot-button issue. Cuarón never predicted the film would become even more relevant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I started developing the character of [Sam, played by] Jeffrey Dean Morgan, it was impossible not to have as a reference all of the vigilante groups that existed on the border, like the Minutemen, when I was writing,” says Cuarón. “But to me, Jeffrey’s character, more than being specific to the Minutemen or vigilante groups, represented what society can get to if we keep allowing all of this rhetoric of hatred toward migrants to be used by politicians and media.”\u003c/p>\n\u003cp>\u003cem>Desierto\u003c/em> opens with an expansive shot of the vast, inhospitable desert. A truck containing smuggled migrants breaks down, forcing 14 people to start their journey across the most dangerous part of the border on foot.\u003c/p>\n\u003cfigure id=\"attachment_13304906\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13304906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg\" alt=\"Still from 'Desierto.'\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Desierto-Photo-Cred-STX-Entertainment-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Desierto.’ \u003ccite>(Courtesy of STX Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the coyotes (human smugglers) sprint across the desert, leaving those who are fatigued and less able-bodied behind, danger looms. Sam appears with his rifle, aiming for the migrants, gunning down nine of them in minutes. Moises and a group of four others spend the rest of the film trying to outrun and hide from Sam, and his murderous dog Tracker.\u003c/p>\n\u003cp>Throughout the film, we learn little about the migrants, Sam, or their motivations. I wondered if Cuarón chose to tell the story of \u003cem>Desierto\u003c/em> in this way to mirror what happens when thousands die on their journey to the United States: their bodies are found, often without identification, and we never know their story.\u003c/p>\n\u003cp>“In \u003cem>Desierto\u003c/em>, I really wanted the narrative to pop in the present tense. I wanted it to be a movie that once the action started, it didn’t stop. So it was really hard to find scenes where I could find an organic way to tell the backstory of these characters,” Cuarón explains.\u003c/p>\n\u003cp>“No matter what happened to Jeffrey Dean Morgan’s character [Sam], nothing justifies his actions,” he says. “And at the same time, no matter what the backstory of any of those migrants had been, even if they had been cruel people, nothing justifies or takes away from the cruelty of Jeffrey Dean Morgan’s actions.”\u003c/p>\n\u003cp>To Cuarón, his migrant characters, like those in real life, are simply searching for a better life, and he wanted to convey the tragedy of those lives being stolen from them.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OIdPSVKZsD4'\n title='//www.youtube.com/embed/OIdPSVKZsD4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That idea of a “search for a better life” often gets whitewashed, reduced to a pat phrase that doesn’t address the complex combination of forces impacting Mexican and Central American migrants.\u003c/p>\n\u003cp>Guadalupe Correa-Cabrera, an associate professor of political science at the University of Texas Rio Grande Valley, and the author of \u003cem>\u003ca href=\"https://utpress.utexas.edu/books/correa-cabrera-los-zetas-inc\" target=\"_blank\" rel=\"noopener noreferrer\">Los Zetas Inc.: Criminal Corporations, Energy and Civil War in Mexico\u003c/a>\u003c/em>, has spent the last six years conducting hundreds of interviews with migrants, military operatives, former drug cartel members, border patrol agents and migrant rights activists from Mexico and the Northern Triangle. Her deeply informed book covers the history, dangerous conditions, and economic plight of the regions controlled by the drug cartel Los Zetas, arguing that the cartel has become a highly sophisticated, profitable operation, similar to a transnational corporation.\u003c/p>\n\u003cp>“We need to acknowledge that there is more than one cause that makes people flee from their countries or look for a better life,” says Correa-Cabrera. “The media portrays this phenomenon as if most of the migrants who come from Central America are fleeing from violence and flying from gangs. And that’s not necessarily not true.” Some are escaping violence, yes, but others seek the economic advantages and opportunities their home country can’t provide.\u003c/p>\n\u003cp>Family separation, as is the case for Moises in \u003cem>Desierto\u003c/em>, is another a motivating factor for those risking their lives to cross the border.\u003c/p>\n\u003cp>“Overall we have seen that the dangers have increased,” says Correa-Cabrera, “that the drug trafficking organizations, local gangs, et cetera have started to extort migrants, rape women, rape children.” Migrants are willing to take the risk, Correa-Cabrera adds. “There are two powerful reasons they don’t care. They want to be reunified with their families in the United States, and it is true that their life will change [once in the U.S.]. The situation that they face in their country of origin makes it impossible for them to survive economically — sometimes even their physical integrity is in danger.”\u003c/p>\n\u003cp>How much is a migrants’ life worth? For the lives in \u003cem>Desierto\u003c/em> and the real world, exactly as much as they can be exploited, and nothing if they can’t. Dehumanized before they even leave their birth country, is it any wonder that their humanity is also denied at the border?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Desierto’ plays at San Francisco’s Roxie Theater at 6pm on Sunday, May 28, followed by a Q&A with director Jonás Cuarón. For tickets and more information, \u003ca href=\"http://www.roxie.com/ai1ec_event/desierto/\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s the 1970s, and a Copenhagen family has just inherited a very large, rambling mansion on the outskirts of town. What to do with it? The time is right for a group living experiment, and if the new Danish film \u003cem>The Commune\u003c/em> were a different sort of movie, it would stage everything that follows — the group skinny-dips, house meetings about dishwashers, and Elton John songs — as warm, raunchy comedy.\u003c/p>\n\u003cp>But \u003cem>The Commune\u003c/em> was directed by Thomas Vinterberg, a filmmaker who is merciless when he digs into human emotion. He was, after all, the co-creator (with Lars von Trier) of the Dogme 95 film collective that advocated for a radically stripped-down filmmaking technique, the better to pummel the audience with the full ugliness of humanity. This is a guy who doesn’t do warmth. What we get instead is the tough, tearful dissolution of a family, just with a few extra witnesses around.\u003c/p>\n\u003cp>Adapting, with co-writer Tobias Lindholm, his own play about his childhood upbringing in a commune, Vinterberg renders his past in perfect period detail: the jean jackets and smoke-filled TV sets aren’t overkill, they just are. He also gives us a version of himself through the character of the 14-year-old daughter, Freja (magnetic newcomer Martha Sofie Wallstrøm Hansen), a quiet observer with shoulder-length curly hair and sad eyes. She is the spiritual opposite of her parents, who are both high-powered professionals accustomed to yelling or cajoling until they get their way: mother Anna (Trine Dyrholm) is a TV news anchor, while father Erik (Ulrich Thomsen) is an architecture professor. Erik’s childhood home comes into their possession when his father dies. “It’s too big for us,” he sniffs, but Anna sells him on the idea of a commune, desperate to shake up their married life by any means necessary. Call up another family, a few friends, and a stranger or two — hey, why not? — and soon, there are a lot more toothbrushes in the sink.\u003c/p>\n\u003cp>https://youtu.be/tL_swe-UIg8\u003c/p>\n\u003cp>Ultimately it’s Anna, the communal evangelist, who will wind up eating her words once all these free-love vibes get a hold of the only thing she wanted to keep to herself. Erik starts carrying on an affair with a graduate student named Emma (Helene Reingaard Neumann), who’s blonde like his wife, but much younger, and when Anna finds out, she gives her blessing to the relationship in an effort to preserve the commune. Soon Emma has moved in, too, and Anna starts breaking down. Though the whole cast shines in this house, the film is really a showcase for Dyrholm. Her stiff blank face, the stuff of an anchorwoman trained to take bad news, gradually wears down the soul behind it. Her depiction of a matriarch privately spiraling out of control, often as she’s harshly lit in blinding white, is in keeping with the operatic spirit of the home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vinterberg has always had a bit of sadism in him, but in his case, that’s a compliment: it means he’s more willing than most directors to push things to extremes, which gives his films the electric charge missing from so many other character-based dramas. He especially loves it when family and friends publicly make enemies of each other: The engrossing 1998 Cannes prizewinner \u003cem>The Celebration\u003c/em> revolved around a harrowing accusation a son makes in the middle of a birthday toast for his father, while the hit 2013 thriller \u003cem>The Hunt\u003c/em> showed how easy it is for an entire town to turn against one person. It’s disappointing, then, how mild \u003cem>The Commune\u003c/em> winds up being by comparison, and you get the feeling the director’s closeness to the story is keeping him from truly pushing it to the outer limits. There’s some nice gallows humor involving a small boy who milks his heart condition for sympathy, but things for the most part stay mellow: the housemates remain out of focus, along with any baggage they might be carrying.\u003c/p>\n\u003cp>“But wait,” you might think, “this movie is called \u003cem>The Commune\u003c/em>, not \u003cem>The Family And Special Guests\u003c/em>. Shouldn’t it be more about the freaking \u003cem>commune\u003c/em>?” Yes, and no. The film does make a deliberate choice to refocus on the family in its back half. But it was never trying to tackle the wacky comings and goings of a house full of weirdos; it’s about the effect a living situation, any living situation, can have on a family, in ways that extend beyond a time capsule. Here in the U.S., where \u003ca href=\"https://www.bloomberg.com/news/articles/2016-07-28/homeownership-rate-in-the-u-s-tumbles-to-the-lowest-since-1965\" target=\"_blank\" rel=\"noopener\">the homeownership rate\u003c/a> is at its lowest in 50 years, we are beginning to see how our relationship to property is changing our relationship to each other. Our physical spaces are bleeding into our mental ones and forcing us to determine if “family” is just another word for “permanent roommate.” We can learn a lot from a film like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a scene toward the end, there’s a long shot of the table where the motley crew eats their meals and conducts their meetings, in the minutes after someone has aired some explosive charges (apparently such scenes are the Vinterberg specialty). Slowly, the other residents clear the table and exit the frame. They leave behind only Anna, Erik, and Freja: the family unit, together again, drowning among empty chairs.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vinterberg has always had a bit of sadism in him, but in his case, that’s a compliment: it means he’s more willing than most directors to push things to extremes, which gives his films the electric charge missing from so many other character-based dramas. He especially loves it when family and friends publicly make enemies of each other: The engrossing 1998 Cannes prizewinner \u003cem>The Celebration\u003c/em> revolved around a harrowing accusation a son makes in the middle of a birthday toast for his father, while the hit 2013 thriller \u003cem>The Hunt\u003c/em> showed how easy it is for an entire town to turn against one person. It’s disappointing, then, how mild \u003cem>The Commune\u003c/em> winds up being by comparison, and you get the feeling the director’s closeness to the story is keeping him from truly pushing it to the outer limits. There’s some nice gallows humor involving a small boy who milks his heart condition for sympathy, but things for the most part stay mellow: the housemates remain out of focus, along with any baggage they might be carrying.\u003c/p>\n\u003cp>“But wait,” you might think, “this movie is called \u003cem>The Commune\u003c/em>, not \u003cem>The Family And Special Guests\u003c/em>. Shouldn’t it be more about the freaking \u003cem>commune\u003c/em>?” Yes, and no. The film does make a deliberate choice to refocus on the family in its back half. But it was never trying to tackle the wacky comings and goings of a house full of weirdos; it’s about the effect a living situation, any living situation, can have on a family, in ways that extend beyond a time capsule. Here in the U.S., where \u003ca href=\"https://www.bloomberg.com/news/articles/2016-07-28/homeownership-rate-in-the-u-s-tumbles-to-the-lowest-since-1965\" target=\"_blank\" rel=\"noopener\">the homeownership rate\u003c/a> is at its lowest in 50 years, we are beginning to see how our relationship to property is changing our relationship to each other. Our physical spaces are bleeding into our mental ones and forcing us to determine if “family” is just another word for “permanent roommate.” We can learn a lot from a film like this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a scene toward the end, there’s a long shot of the table where the motley crew eats their meals and conducts their meetings, in the minutes after someone has aired some explosive charges (apparently such scenes are the Vinterberg specialty). Slowly, the other residents clear the table and exit the frame. They leave behind only Anna, Erik, and Freja: the family unit, together again, drowning among empty chairs.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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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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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"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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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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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",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"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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},
"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"
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},
"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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