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"content": "\u003cp>Twenty-five years ago, \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">riots\u003c/a> rocked Los Angeles after four white police officers were acquitted of using excessive force when arresting Rodney King, a black motorist. Footage of the assault captured by a bystander sparked outrage across the country.\u003c/p>\n\u003cp>Actor \u003ca href=\"http://www.imdb.com/name/nm2014390/\">Justin Chon\u003c/a> was living in Los Angeles and about to turn 11 years old when those riots broke out in 1992. His father, a Korean immigrant, owned a shoe store on the border of East Compton and Paramount that Chon says was looted on the last day of the riots.\u003c/p>\n\u003cp>\"There are those famous pictures of Korean shop owners on their roofs with shotguns, and my dad was one of those guys,\" Chon says.\u003c/p>\n\u003cp>After reading several film scripts about the riots that Chon felt didn't accurately portray the Korean-American experience, he decided to make his own.\u003c/p>\n\u003cp>\"I just felt if I didn't make a movie, having experienced the riots and also being personally affected, I would feel really guilty,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11353774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook2-800x444.jpg\" alt=\"Justin Chon in a scene from his film, 'Gook.'\" width=\"800\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-160x89.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1020x566.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1180x655.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-960x533.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-240x133.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-375x208.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Chon in a scene from his film, 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon wrote, directed and stars in \u003ca href=\"http://www.hollywoodreporter.com/review/gook-review-967115\" target=\"_blank\">\"Gook,\"\u003c/a> a film shot in stark black and white that won an audience award when it screened at the Sundance Film Festival in January. It also played to a sold-out crowd recently at \u003ca href=\"http://caamfest.com/2017/\">CAAMFest, \u003c/a>San Francisco's Asian American Film Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chon says giving the film a name that is often considered a racial slur toward Asian-Americans was a conscious act of reclamation.\u003c/p>\n\u003cp>\"Gook just means 'country' in Korea,\" he says. \"It's so weird how our word has been turned against us. When you actually know the definition of it, it just takes all the power away.\"\u003c/p>\n\u003cp>The film, which has been compared to Spike Lee's \u003ca href=\"http://www.imdb.com/title/tt0097216/\" target=\"_blank\">\"Do the Right Thing,\"\u003c/a> centers on the friendship between Chon's character, Eli -- a Korean shoe store owner -- his brother, and an 11-year-old black girl named Kamilla.\u003c/p>\n\u003cp>\u003cem>Gook \u003c/em>shows Eli and his brother facing attacks from their mostly African-American and Latino neighbors, but their relationship with Kamilla isn't tinged with the same racial animus.\u003c/p>\n\u003cp>\"She represents the bridge [between communities], innocence and what we lose sight of when we all don't communicate and fight with each other,\" Chon says of Kamilla. \"She's the most resilient one. She's the one that is always optimistic while everybody else thinks so negatively about everything.\"\u003c/p>\n\u003cfigure id=\"attachment_11353777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353777\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook3-800x392.jpg\" alt=\"Simone Baker plays Kamilla in 'Gook.'\" width=\"800\" height=\"392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-800x392.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-160x78.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1020x500.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1180x578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-960x471.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-240x118.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-375x184.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simone Baker plays Kamilla in 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon said his team originally auditioned experienced child actors but felt they were \"too polished\" for the role they were envisioning.\u003c/p>\n\u003cp>\"That's when we started calling every single black church in the greater Los Angeles area and every community center,\" he says.\u003c/p>\n\u003cp>They eventually came to the Fernando Pullum Community Arts Center, where they found \u003ca href=\"http://www.imdb.com/name/nm7146497/\">Simone Baker,\u003c/a> who plays Kamilla.\u003c/p>\n\u003cp>\"When she came in, she just blew me away,\" he says.\u003c/p>\n\u003cp>Chon says he's proud to have built a film around a black female and Asian-American male character.\u003c/p>\n\u003cp>\"These two demographics are two of the most underrepresented ethnicities in media,\" he says. \"It was really important to me that this story was told through their eyes.\"\u003c/p>\n\u003cfigure id=\"attachment_11353779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353779\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook4-800x378.jpg\" alt=\"A still from 'Gook.'\" width=\"800\" height=\"378\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-800x378.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-160x76.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1020x482.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1180x558.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-960x454.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-240x114.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-375x177.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-520x246.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon says the riots 25 years ago laid bare some real tensions that existed in Los Angeles between the black and Korean communities.\u003c/p>\n\u003cp>\"A lot of Korean businesses went into these neighborhoods and didn't assimilate,\" he says. \"We didn't try to become a part of the community. We just made a lot of money from those neighborhoods, and we didn't give back.\"\u003c/p>\n\u003cp>Chon hopes his film can provide a way for people to reflect on how race relations in the country have -- or haven't -- changed in the past 25 years.\u003c/p>\n\u003cp>\"There's more tolerance [today], but there also isn't,\" he says. \"Right now the country is very divided. It's a very eye-opening, unique time. That's why it's important to create art like this because we can talk about it.\"\u003c/p>\n\u003cp>He says that while race does play an important role in the film, the film speaks to audiences for a different reason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's really just a story about friendship,\" he says. \"Anyone can relate to friendship.\"\u003c/p>\n\n",
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"excerpt": "L.A. filmmaker Justin Chon wrote, directed and stars in 'Gook,' a film about a an unlikely friendship during the Rodney King riots in 1992. It won an audience award at Sundance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-five years ago, \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">riots\u003c/a> rocked Los Angeles after four white police officers were acquitted of using excessive force when arresting Rodney King, a black motorist. Footage of the assault captured by a bystander sparked outrage across the country.\u003c/p>\n\u003cp>Actor \u003ca href=\"http://www.imdb.com/name/nm2014390/\">Justin Chon\u003c/a> was living in Los Angeles and about to turn 11 years old when those riots broke out in 1992. His father, a Korean immigrant, owned a shoe store on the border of East Compton and Paramount that Chon says was looted on the last day of the riots.\u003c/p>\n\u003cp>\"There are those famous pictures of Korean shop owners on their roofs with shotguns, and my dad was one of those guys,\" Chon says.\u003c/p>\n\u003cp>After reading several film scripts about the riots that Chon felt didn't accurately portray the Korean-American experience, he decided to make his own.\u003c/p>\n\u003cp>\"I just felt if I didn't make a movie, having experienced the riots and also being personally affected, I would feel really guilty,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11353774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook2-800x444.jpg\" alt=\"Justin Chon in a scene from his film, 'Gook.'\" width=\"800\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-160x89.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1020x566.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1180x655.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-960x533.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-240x133.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-375x208.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Chon in a scene from his film, 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon wrote, directed and stars in \u003ca href=\"http://www.hollywoodreporter.com/review/gook-review-967115\" target=\"_blank\">\"Gook,\"\u003c/a> a film shot in stark black and white that won an audience award when it screened at the Sundance Film Festival in January. It also played to a sold-out crowd recently at \u003ca href=\"http://caamfest.com/2017/\">CAAMFest, \u003c/a>San Francisco's Asian American Film Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chon says giving the film a name that is often considered a racial slur toward Asian-Americans was a conscious act of reclamation.\u003c/p>\n\u003cp>\"Gook just means 'country' in Korea,\" he says. \"It's so weird how our word has been turned against us. When you actually know the definition of it, it just takes all the power away.\"\u003c/p>\n\u003cp>The film, which has been compared to Spike Lee's \u003ca href=\"http://www.imdb.com/title/tt0097216/\" target=\"_blank\">\"Do the Right Thing,\"\u003c/a> centers on the friendship between Chon's character, Eli -- a Korean shoe store owner -- his brother, and an 11-year-old black girl named Kamilla.\u003c/p>\n\u003cp>\u003cem>Gook \u003c/em>shows Eli and his brother facing attacks from their mostly African-American and Latino neighbors, but their relationship with Kamilla isn't tinged with the same racial animus.\u003c/p>\n\u003cp>\"She represents the bridge [between communities], innocence and what we lose sight of when we all don't communicate and fight with each other,\" Chon says of Kamilla. \"She's the most resilient one. She's the one that is always optimistic while everybody else thinks so negatively about everything.\"\u003c/p>\n\u003cfigure id=\"attachment_11353777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353777\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook3-800x392.jpg\" alt=\"Simone Baker plays Kamilla in 'Gook.'\" width=\"800\" height=\"392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-800x392.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-160x78.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1020x500.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1180x578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-960x471.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-240x118.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-375x184.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simone Baker plays Kamilla in 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon said his team originally auditioned experienced child actors but felt they were \"too polished\" for the role they were envisioning.\u003c/p>\n\u003cp>\"That's when we started calling every single black church in the greater Los Angeles area and every community center,\" he says.\u003c/p>\n\u003cp>They eventually came to the Fernando Pullum Community Arts Center, where they found \u003ca href=\"http://www.imdb.com/name/nm7146497/\">Simone Baker,\u003c/a> who plays Kamilla.\u003c/p>\n\u003cp>\"When she came in, she just blew me away,\" he says.\u003c/p>\n\u003cp>Chon says he's proud to have built a film around a black female and Asian-American male character.\u003c/p>\n\u003cp>\"These two demographics are two of the most underrepresented ethnicities in media,\" he says. \"It was really important to me that this story was told through their eyes.\"\u003c/p>\n\u003cfigure id=\"attachment_11353779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353779\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook4-800x378.jpg\" alt=\"A still from 'Gook.'\" width=\"800\" height=\"378\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-800x378.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-160x76.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1020x482.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1180x558.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-960x454.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-240x114.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-375x177.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-520x246.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon says the riots 25 years ago laid bare some real tensions that existed in Los Angeles between the black and Korean communities.\u003c/p>\n\u003cp>\"A lot of Korean businesses went into these neighborhoods and didn't assimilate,\" he says. \"We didn't try to become a part of the community. We just made a lot of money from those neighborhoods, and we didn't give back.\"\u003c/p>\n\u003cp>Chon hopes his film can provide a way for people to reflect on how race relations in the country have -- or haven't -- changed in the past 25 years.\u003c/p>\n\u003cp>\"There's more tolerance [today], but there also isn't,\" he says. \"Right now the country is very divided. It's a very eye-opening, unique time. That's why it's important to create art like this because we can talk about it.\"\u003c/p>\n\u003cp>He says that while race does play an important role in the film, the film speaks to audiences for a different reason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's really just a story about friendship,\" he says. \"Anyone can relate to friendship.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Does Emma Watson’s Feminism Irritate So Many People?",
"title": "Why Does Emma Watson’s Feminism Irritate So Many People?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Emma Watson can't win. Ever since the 26-year-old actress \"came out\" as a feminist, she's been picked apart in every facet of her life as critics and feminist allies alike search of any traces of hypocrisy. For Watson, it's an impossible position -- on one side, she faces accusations of being an uptight, know-it-all feminist preacher; on the other, she's seen as too privileged and not feminist enough by fervently intersectional millennials.\u003c/p>\n\u003cp>The most recent turn in a seemingly endless discussion about Watson's fitness as a feminist stemmed from a rather stunning \u003ca href=\"https://www.timwalkerphotography.com/\">Tim Walker\u003c/a> photo shoot in this month's \u003cem>\u003ca href=\"http://www.vanityfair.com/hollywood/2017/02/emma-watson-cover-story\">Vanity Fair\u003c/a>\u003c/em>. The problem started when a British columnist and radio presenter named \u003ca href=\"https://en.wikipedia.org/wiki/Julia_Hartley-Brewer\">Julia Hartley-Brewer\u003c/a> found a photo of Watson displaying some tasteful underboob from the shoot, and tweeted the following:\u003c/p>\n\u003cp>https://twitter.com/JuliaHB1/status/836873834414366720\u003c/p>\n\u003cp>Respected British newspaper \u003ca href=\"http://www.independent.co.uk/author/biba-kang\">\u003cem>The Independent\u003c/em>\u003c/a> followed up by questioning Watson’s choices and agency: “One of the rubbish side effects of being a woman is that it’s often very hard to distinguish what you want with what you have been told to want… The only thing ‘having its cake and eating it too’ here is the patriarchy.”\u003c/p>\n\u003cp>The backlash continued. \u003ca href=\"http://www.cnn.com/2017/03/05/entertainment/emma-watson-vanity-fair-photo-controversy/\">CNN asked\u003c/a> with a straight face: “Can you be a feminist and pose in a nearly see-through top for Vanity Fair?\" And\u003cem> \u003ca href=\"http://www.hollywoodreporter.com/news/is-actress-feminist-emma-watson-a-hypocrite-going-topless-vanity-fair-982585\">The Hollywood Reporter\u003c/a>\u003c/em>, failing to understand that practicing feminists are not required nor expected to sign no-nudity clauses, asked, “Should stars worry more about their images in editorial photo spreads, especially when those images could run counter to their personal brand messaging?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some outlets fought for Watson. \u003cem>Jezebel\u003c/em>’s Rachel Verona Cote called Hartley-Brewer’s Tweet an “\u003ca href=\"http://jezebel.com/emma-watsons-feminist-card-is-now-invalid-because-she-p-1792995010\">absurd remark\u003c/a>;” \u003ca href=\"http://www.vulture.com/2017/03/emma-watson-gets-criticized-for-semi-nudity-in-vanity-fair.html\">\u003cem>Vulture\u003c/em> noted\u003c/a> that “According to some critics, feminism and nudity are mutually exclusive... That’s backwards.” \u003c/p>\n\u003cp>Watson herself \u003ca href=\"https://www.buzzfeed.com/ikrd/emma-watson-is-very-confused-about-the-backlash-to-her-vanit?utm_term=.ci5v1WVoA#.diadw4lxE\">weighed in\u003c/a> with sense and humor: “Feminism is about giving women choice, feminism is not a stick with which to beat other women with. It’s about freedom, it’s about liberation, it’s about equality,” she said. “I really don’t know what my tits have to do with it.”\u003c/p>\n\u003cp>Even after that, Watson was attacked on Twitter by Beyoncé fans, who revived \u003ca href=\"http://www.billboard.com/articles/news/7717149/emma-watson-beyonce-fans-called-hypocrite\">a three-year-old interview\u003c/a> in which Watson discussed Queen Bey's music videos.\u003c/p>\n\u003cp>https://twitter.com/MJStarLover/status/838459099566247937\u003c/p>\n\u003cp>In response, Watson dug up the interview, highlighted the sections in which she talked about Beyoncé, and allowed the text to speak for itself. (Admitting that she \"still [hadn't] really formed my own ideas about it,\" she had been asking questions about Beyoncé's music videos that seemed to be shot through a \"male gaze.\" )\u003c/p>\n\u003cp>As with so many criticisms directed at Watson -- whenever she does anything feminist \u003cem>or\u003c/em> feminine -- it's often a lot of fuss about nothing.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma.png\">\u003cimg class=\"alignright wp-image-68239\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma-800x814.png\" alt=\"emma\" width=\"400\" height=\"407\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-800x814.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-160x163.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-768x781.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1020x1038.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1920x1953.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1180x1201.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-960x977.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-240x244.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-375x382.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-520x529.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-64x64.png 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>The entire \u003cem>Vanity Fair\u003c/em> incident serves to highlight just how much confusion still swirls around feminism as a movement. In 2017, the idea that individuals must stay chaste and fully-clothed to defend equal rights for women is antiquated, stemming from an old stereotype that painted women’s rights campaigners as sexless man-haters in order to discourage more women from joining the movement. Apparently, \u003ca href=\"http://uptownmagazine.com/files/2014/10/Beyonce-FEminist.jpg\">Beyoncé in a leotard\u003c/a> in front of a gigantic FEMINIST sign at the Grammys in 2014 has done little to dispel this old, ugly myth. That's probably for the same reason why Watson was openly confused about Beyoncé at the time -- namely, that understanding millennial feminism requires additional thought about free sexual expression, patriarchal media influences, choice and women's place in the age of technology.\u003c/p>\n\u003cp>But another part of Watson's problem as an outspoken feminist is \u003cem>who she literally is\u003c/em>. She is widely viewed as the embodiment of privilege. Her accent carries the same polished tone as the British Royal Family; she was born in Paris to two successful lawyers; she has few memories of ever not being a millionaire, thanks to being cast as Hermione Granger in the \u003cem>Harry Potter\u003c/em> franchise at the age of nine. Watson definitely has something of a relatability problem.\u003c/p>\n\u003cp>At a time when the term “\u003ca href=\"https://www.bustle.com/articles/120684-7-things-feminists-of-color-want-white-feminists-to-know\">White Feminist\u003c/a>” is one of the worst things to call a female campaigner, Watson's feminism comes under extra scrutiny precisely because she is a young, rich, white, cis-gendered, heterosexual woman -- the exact demographic that dominated second-wave feminism, sometimes to the detriment of other women. It also happens to be the exact demographic from which millennial feminism so often seeks to distance itself.\u003c/p>\n\u003cp>Undoubtedly, Watson is now in a bit of a quagmire. Since she became an activist, she stopped being a relatable figure to those who don’t understand feminism nor care to hear about it (i.e., the people who picked apart her photo shoot last week). But for a sizable portion of new-generation feminists, Watson is simply too privileged to truly get it. No matter how much sense she speaks, or how well her arguments hold up, her innate privilege has a tendency to undercut her ability to be viewed as authentic.\u003c/p>\n\u003cp>The split between the old and new feminist guard was made abundantly clear after Watson's \u003ca href=\"https://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">“HeForShe” speech\u003c/a> at the UN in 2014. It was a moment widely applauded across the mainstream media, but Watson faced backlash in some feminist-specific media outlets (like \u003cem>\u003ca href=\"http://www.xojane.com/issues/emma-watson-he-for-she\">XOJane\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.bgdblog.org/2014/09/im-really-emma-watsons-feminism-speech-u-n/\">BGD Blog\u003c/a>, \u003c/em>and \u003cem>\u003ca href=\"https://www.facebook.com/guerrillafeminism/posts/741051699298794\">Guerrilla Feminism\u003c/a>\u003c/em>). Her response to the discussion was thoughtful, but did little to dispel the idea that Watson might not truly get it:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-68230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/watson-response-800x1045.png\" alt=\"Watson's response to charges of not being intersectional enough\" width=\"800\" height=\"1045\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-800x1045.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-160x209.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-768x1003.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1020x1332.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1920x2508.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1180x1542.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-960x1254.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-240x314.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-375x490.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-520x679.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another example of Watson’s good intentions backfiring is the Instagram account she set up to chronicle the many stunning ensembles she's been wearing on her globetrotting \u003cem>Beauty & The Beast\u003c/em> promotional tour. \u003ca href=\"https://www.instagram.com/the_press_tour/?hl=en\">@ThePressTour\u003c/a> was set up with the intention of highlighting another cause close to Watson’s heart -- eco-friendly fashion –- but to many, it looks an awful lot like just another rich, beautiful celebrity flaunting her access to extremely expensive couture. The motivations and intentions behind The Press Tour are great (and just imagine what the anti-feminists would say if she didn't show up to every appearance this polished), but the execution suggests to many that Watson is clueless when it comes to understanding the realities of life for low-income women and women of color.\u003c/p>\n\u003cfigure id=\"attachment_68238\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-68238\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png\" alt=\"Screen Shot 2017-03-06 at 5.14.24 PM\" width=\"500\" height=\"764\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-160x245.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-800x1223.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-768x1174.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1920x2934.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1180x1803.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-960x1467.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-240x367.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-375x573.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-520x795.png 520w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: The Press Tour Instagram\u003c/figcaption>\u003c/figure>\n\u003cp>If Watson continues with her feminist campaigning -- and young women would certainly be worse off if she didn’t -- the furor around that one very tasteful photograph in \u003cem>Vanity Fair\u003c/em> will only be the beginning. As it stands, it might be more useful for all of us to start viewing Watson through a lens that doesn't involve old-fashioned feminist stereotypes, and doesn't -- based on their bank balances or race -- exclude women (which was the point of intersectional feminism in the first place).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Watson isn't a perfect feminist, because there is no such thing. We should be judging her for her passion, her actions, the attention she brings to feminism, and the fact that, even under heavy fire, she persists.\u003c/p>\n\n",
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"excerpt": "Can Emma Watson be both a feminist activist and a woman comfortable enough in her own skin to show some of it? Some think not.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emma Watson can't win. Ever since the 26-year-old actress \"came out\" as a feminist, she's been picked apart in every facet of her life as critics and feminist allies alike search of any traces of hypocrisy. For Watson, it's an impossible position -- on one side, she faces accusations of being an uptight, know-it-all feminist preacher; on the other, she's seen as too privileged and not feminist enough by fervently intersectional millennials.\u003c/p>\n\u003cp>The most recent turn in a seemingly endless discussion about Watson's fitness as a feminist stemmed from a rather stunning \u003ca href=\"https://www.timwalkerphotography.com/\">Tim Walker\u003c/a> photo shoot in this month's \u003cem>\u003ca href=\"http://www.vanityfair.com/hollywood/2017/02/emma-watson-cover-story\">Vanity Fair\u003c/a>\u003c/em>. The problem started when a British columnist and radio presenter named \u003ca href=\"https://en.wikipedia.org/wiki/Julia_Hartley-Brewer\">Julia Hartley-Brewer\u003c/a> found a photo of Watson displaying some tasteful underboob from the shoot, and tweeted the following:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Respected British newspaper \u003ca href=\"http://www.independent.co.uk/author/biba-kang\">\u003cem>The Independent\u003c/em>\u003c/a> followed up by questioning Watson’s choices and agency: “One of the rubbish side effects of being a woman is that it’s often very hard to distinguish what you want with what you have been told to want… The only thing ‘having its cake and eating it too’ here is the patriarchy.”\u003c/p>\n\u003cp>The backlash continued. \u003ca href=\"http://www.cnn.com/2017/03/05/entertainment/emma-watson-vanity-fair-photo-controversy/\">CNN asked\u003c/a> with a straight face: “Can you be a feminist and pose in a nearly see-through top for Vanity Fair?\" And\u003cem> \u003ca href=\"http://www.hollywoodreporter.com/news/is-actress-feminist-emma-watson-a-hypocrite-going-topless-vanity-fair-982585\">The Hollywood Reporter\u003c/a>\u003c/em>, failing to understand that practicing feminists are not required nor expected to sign no-nudity clauses, asked, “Should stars worry more about their images in editorial photo spreads, especially when those images could run counter to their personal brand messaging?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some outlets fought for Watson. \u003cem>Jezebel\u003c/em>’s Rachel Verona Cote called Hartley-Brewer’s Tweet an “\u003ca href=\"http://jezebel.com/emma-watsons-feminist-card-is-now-invalid-because-she-p-1792995010\">absurd remark\u003c/a>;” \u003ca href=\"http://www.vulture.com/2017/03/emma-watson-gets-criticized-for-semi-nudity-in-vanity-fair.html\">\u003cem>Vulture\u003c/em> noted\u003c/a> that “According to some critics, feminism and nudity are mutually exclusive... That’s backwards.” \u003c/p>\n\u003cp>Watson herself \u003ca href=\"https://www.buzzfeed.com/ikrd/emma-watson-is-very-confused-about-the-backlash-to-her-vanit?utm_term=.ci5v1WVoA#.diadw4lxE\">weighed in\u003c/a> with sense and humor: “Feminism is about giving women choice, feminism is not a stick with which to beat other women with. It’s about freedom, it’s about liberation, it’s about equality,” she said. “I really don’t know what my tits have to do with it.”\u003c/p>\n\u003cp>Even after that, Watson was attacked on Twitter by Beyoncé fans, who revived \u003ca href=\"http://www.billboard.com/articles/news/7717149/emma-watson-beyonce-fans-called-hypocrite\">a three-year-old interview\u003c/a> in which Watson discussed Queen Bey's music videos.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In response, Watson dug up the interview, highlighted the sections in which she talked about Beyoncé, and allowed the text to speak for itself. (Admitting that she \"still [hadn't] really formed my own ideas about it,\" she had been asking questions about Beyoncé's music videos that seemed to be shot through a \"male gaze.\" )\u003c/p>\n\u003cp>As with so many criticisms directed at Watson -- whenever she does anything feminist \u003cem>or\u003c/em> feminine -- it's often a lot of fuss about nothing.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma.png\">\u003cimg class=\"alignright wp-image-68239\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/emma-800x814.png\" alt=\"emma\" width=\"400\" height=\"407\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-800x814.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-160x163.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-768x781.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1020x1038.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1920x1953.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-1180x1201.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-960x977.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-240x244.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-375x382.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-520x529.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/emma-64x64.png 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>The entire \u003cem>Vanity Fair\u003c/em> incident serves to highlight just how much confusion still swirls around feminism as a movement. In 2017, the idea that individuals must stay chaste and fully-clothed to defend equal rights for women is antiquated, stemming from an old stereotype that painted women’s rights campaigners as sexless man-haters in order to discourage more women from joining the movement. Apparently, \u003ca href=\"http://uptownmagazine.com/files/2014/10/Beyonce-FEminist.jpg\">Beyoncé in a leotard\u003c/a> in front of a gigantic FEMINIST sign at the Grammys in 2014 has done little to dispel this old, ugly myth. That's probably for the same reason why Watson was openly confused about Beyoncé at the time -- namely, that understanding millennial feminism requires additional thought about free sexual expression, patriarchal media influences, choice and women's place in the age of technology.\u003c/p>\n\u003cp>But another part of Watson's problem as an outspoken feminist is \u003cem>who she literally is\u003c/em>. She is widely viewed as the embodiment of privilege. Her accent carries the same polished tone as the British Royal Family; she was born in Paris to two successful lawyers; she has few memories of ever not being a millionaire, thanks to being cast as Hermione Granger in the \u003cem>Harry Potter\u003c/em> franchise at the age of nine. Watson definitely has something of a relatability problem.\u003c/p>\n\u003cp>At a time when the term “\u003ca href=\"https://www.bustle.com/articles/120684-7-things-feminists-of-color-want-white-feminists-to-know\">White Feminist\u003c/a>” is one of the worst things to call a female campaigner, Watson's feminism comes under extra scrutiny precisely because she is a young, rich, white, cis-gendered, heterosexual woman -- the exact demographic that dominated second-wave feminism, sometimes to the detriment of other women. It also happens to be the exact demographic from which millennial feminism so often seeks to distance itself.\u003c/p>\n\u003cp>Undoubtedly, Watson is now in a bit of a quagmire. Since she became an activist, she stopped being a relatable figure to those who don’t understand feminism nor care to hear about it (i.e., the people who picked apart her photo shoot last week). But for a sizable portion of new-generation feminists, Watson is simply too privileged to truly get it. No matter how much sense she speaks, or how well her arguments hold up, her innate privilege has a tendency to undercut her ability to be viewed as authentic.\u003c/p>\n\u003cp>The split between the old and new feminist guard was made abundantly clear after Watson's \u003ca href=\"https://ww2.kqed.org/pop/emma-watson-most-inspiring-quotes-international-womens-day-facebook-feminism-speech\">“HeForShe” speech\u003c/a> at the UN in 2014. It was a moment widely applauded across the mainstream media, but Watson faced backlash in some feminist-specific media outlets (like \u003cem>\u003ca href=\"http://www.xojane.com/issues/emma-watson-he-for-she\">XOJane\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.bgdblog.org/2014/09/im-really-emma-watsons-feminism-speech-u-n/\">BGD Blog\u003c/a>, \u003c/em>and \u003cem>\u003ca href=\"https://www.facebook.com/guerrillafeminism/posts/741051699298794\">Guerrilla Feminism\u003c/a>\u003c/em>). Her response to the discussion was thoughtful, but did little to dispel the idea that Watson might not truly get it:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-68230\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/watson-response-800x1045.png\" alt=\"Watson's response to charges of not being intersectional enough\" width=\"800\" height=\"1045\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-800x1045.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-160x209.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-768x1003.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1020x1332.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1920x2508.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-1180x1542.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-960x1254.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-240x314.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-375x490.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/watson-response-520x679.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Another example of Watson’s good intentions backfiring is the Instagram account she set up to chronicle the many stunning ensembles she's been wearing on her globetrotting \u003cem>Beauty & The Beast\u003c/em> promotional tour. \u003ca href=\"https://www.instagram.com/the_press_tour/?hl=en\">@ThePressTour\u003c/a> was set up with the intention of highlighting another cause close to Watson’s heart -- eco-friendly fashion –- but to many, it looks an awful lot like just another rich, beautiful celebrity flaunting her access to extremely expensive couture. The motivations and intentions behind The Press Tour are great (and just imagine what the anti-feminists would say if she didn't show up to every appearance this polished), but the execution suggests to many that Watson is clueless when it comes to understanding the realities of life for low-income women and women of color.\u003c/p>\n\u003cfigure id=\"attachment_68238\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg class=\"wp-image-68238\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png\" alt=\"Screen Shot 2017-03-06 at 5.14.24 PM\" width=\"500\" height=\"764\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1020x1559.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-160x245.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-800x1223.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-768x1174.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1920x2934.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-1180x1803.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-960x1467.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-240x367.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-375x573.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/03/Screen-Shot-2017-03-06-at-5.14.24-PM-520x795.png 520w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Photo: The Press Tour Instagram\u003c/figcaption>\u003c/figure>\n\u003cp>If Watson continues with her feminist campaigning -- and young women would certainly be worse off if she didn’t -- the furor around that one very tasteful photograph in \u003cem>Vanity Fair\u003c/em> will only be the beginning. As it stands, it might be more useful for all of us to start viewing Watson through a lens that doesn't involve old-fashioned feminist stereotypes, and doesn't -- based on their bank balances or race -- exclude women (which was the point of intersectional feminism in the first place).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watson isn't a perfect feminist, because there is no such thing. We should be judging her for her passion, her actions, the attention she brings to feminism, and the fact that, even under heavy fire, she persists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What does the future future of filmmaking look like? This year’s \u003ca target=\"_blank\" href=\"http://cinequest.org/\" rel=\"noopener\">Cinequest Film Festival\u003c/a> offers a look at a few student filmmakers who have gotten a jump on their IMDB page before even graduating high school. Westmont High School senior Rebecca Uddin’s short film \u003cem>\u003ca target=\"_blank\" href=\"http://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=59756~78899376-35a9-4153-8303-e1557be2dc32&\" rel=\"noopener\">The O-Doring Orange\u003c/a>\u003c/em> is \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/09/cinequest-2017-student-spotlight-rebecca-uddin/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/09/cinequest-2017-student-spotlight-rebecca-uddin/\" target=\"_blank\" title=\"Cinequest 2017 Student Spotlight: Rebecca Uddin\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "‘Rita Mahtoubian is not a Terrorist’ is a Satirical Take on Romance and Mistaken Identity",
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"content": "\u003cp>When Iranian-born Rita (Della Saba, \u003cem>Zootopia\u003c/em>) sets out to change her life from ordinary to extraordinary, she captures the attention of a homeland security agent (Patrick Fugit, \u003cem>Gone Girl\u003c/em>, \u003cem>Almost Famous\u003c/em>, \u003cem>Outcast\u003c/em>) in \u003cem>Rita Mahtoubian is not a Terrorist\u003c/em>, a satirical comedy about romance, terrorism, and self-help.\u003c/p>\n\u003cp>Written and directed by \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/09/rita-mahtoubian-is-not-a-terrorist-is-a-satirical-take-on-romance-and-mistaken-identity/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/09/rita-mahtoubian-is-not-a-terrorist-is-a-satirical-take-on-romance-and-mistaken-identity/\" target=\"_blank\" title=\"‘Rita Mahtoubian is not a Terrorist’ is a Satirical Take on Romance and Mistaken Identity\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Fred Weintraub, Founder of the Bitter End and 'Enter The Dragon' Producer, Dies at 88",
"headTitle": "Fred Weintraub, Founder of the Bitter End and ‘Enter The Dragon’ Producer, Dies at 88 | KQED",
"content": "\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As an impresario and producer, Weintraub fueled the careers of scores of important performers across music, comedy and film — from Bob Dylan to Woody Allen to Bruce Lee. He died Sunday at age 88.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An impresario and producer who helped launch the careers of many marquee-name musicians, comedians and actors — including Bob Dylan, Woody Allen and Bruce Lee — has died. Fred Weintraub was 88 years old.\u003c/p>\n\u003cp>His wife, Jackie, confirmed his death to NPR. He died at their home in Pacific Palisades, Calif. on March 5, due to complications related to Parkinson’s disease.\u003c/p>\n\u003cp>Born in the Bronx on April 27, 1928, Weintraub studied for his bar mitzvah with famed cantor and Metropolitan Opera soloist \u003ca href=\"http://thevillager.com/2012/04/05/bitter-ends-weintraub-returns-to-where-it-began-on-bleecker/\" target=\"_blank\" rel=\"noopener\">Richard Tucker\u003c/a>. After graduating from the University of Pennsylvania’s Wharton School, he started his career as heir to his father’s baby-carriage and toy business.\u003c/p>\n\u003cp>But, despairing of that life at age 26, he \u003ca href=\"http://www.fredweintraub.com/index.php?page=the-bitter-end\" target=\"_blank\" rel=\"noopener\">abandoned\u003c/a> his two children and then-wife to travel the world and pick up odd jobs, including running a fishing boat in Cuba. (He married four times in total, but was married to his last wife, Jackie, for 30 years.)\u003c/p>\n\u003cp>Eventually, Weintraub returned to New York. In 1961, he opened a club called The Bitter End, serving ice cream and coffee drinks instead of alcohol, at 147 Bleecker St., in the heart of Greenwich Village.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s nearly impossible to overstate The Bitter End’s position as a fulcrum of New York’s music and comedy scenes. Among the many talents \u003ca href=\"http://www.bitterend.com/legends/\" target=\"_blank\" rel=\"noopener\">fostered\u003c/a> on that stage, against its famous bare-brick wall, were Bob Dylan, Joan Baez, Nina Simone, Carly Simon, Harry Chapin, Randy Newman, George Carlin, Woody Allen, Lily Tomlin, Joan Rivers and Bill Cosby.\u003c/p>\n\u003cp>A decade after the Bitter End opened, its manager, Paul Colby, opened another club next door called The Other End — and Weintraub fired him. By 1974, however, Weintraub had sold the Bitter End to Colby, who \u003ca href=\"https://www.nytimes.com/2014/02/20/nyregion/paul-colby-owner-of-club-that-helped-the-rise-of-greenwich-village-dies-at-96.html\" target=\"_blank\" rel=\"noopener\">died\u003c/a> in 2014 at 96.\u003c/p>\n\u003cp>In the late 1960s, Weintraub headed west to the Warner Bros. film studios as a production executive. One of his first tasks there was to finance a music documentary for the “hesitant … establishment” at the studio, as Jackie Weintraub wrote in a statement provided to NPR. It was the landmark, Oscar-winning \u003cem>Woodstock\u003c/em>, released in 1970. \u003cem>Woodstock\u003c/em> earned \u003ca href=\"http://www.latimes.com/entertainment/music/la-me-fred-weintraub-20170307-story.html\" target=\"_blank\" rel=\"noopener\">$32 million\u003c/a> in its theatrical release, an \u003ca href=\"http://www.boxofficemojo.com/genres/chart/?id=documentary.htm&sort=gross&order=DESC&p=.htm\">impressive return\u003c/a> for a documentary film both then and now.\u003c/p>\n\u003cp>Soon after that smash hit, Weintraub decided he wanted to replicate the success of Hong Kong’s martial arts movies in America. He went looking to make a star, and found one in an aspiring actor and martial arts teacher working in Oakland: Bruce Lee. Their resulting film, 1973’s \u003cem>Enter the Dragon\u003c/em>, made more than $100 million worldwide — and made Lee, who died a few days after the movie’s release, an instant legend.\u003c/p>\n\u003cp>Weintraub went on to have additional commercial successes in both film and TV, including producing the folk music program \u003ci>Hootenanny\u003c/i> and \u003ci>The Dukes of Hazzard.\u003c/i> After the collapse of the Soviet Union, Weintraub also helped develop the film industry in then-Yugoslavia and in Lithuania.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At a 2012 event in Burbank promoting his autobiography \u003cem>\u003ca>Bruce Lee\u003c/a>, Woodstock and Me: From the Man Behind a Half-Century of Music, Movies and Martial Arts\u003c/em> (written with David Fields), Weintraub \u003ca href=\"http://www.latimes.com/tn-blr-0613-on-the-town-meeting-an-entertainment-legend-fred-weintraub-story.html\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the audience: “I’ve had a serendipitous life with more failures than you can imagine. I believe success and failure go hand-in-hand, and you can never go wrong in failing. You’ll always come out of a failure as a better person. I agree with Winston Churchill, who said, ‘Success consists of going from failure to failure without loss of enthusiasm.’ You have to be willing to stick your neck out. Always do new things. Try anything. You never know when something life-changing will come your way.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fred+Weintraub%2C+Founder+Of+The+Bitter+End+And+%27Enter+The+Dragon%27+Producer%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "1970s Immigration Story Becomes Timely in CAAMFest’s ‘Tiger Hunter’",
"headTitle": "1970s Immigration Story Becomes Timely in CAAMFest’s ‘Tiger Hunter’ | KQED",
"content": "\u003cp>\u003ci>The Tiger Hunter\u003c/i>, the opening night film for the \u003ca href=\"http://caamfest.com/2017/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media’s annual film festival\u003c/a> (CAAMFest), could not arrive at a more pertinent and fragile moment. \u003c/p>\n\u003cp>Coming to San Francisco on the heels of President Trump’s most recent travel ban on six predominantly Muslim countries, the feature film debut from writer and director Lena Khan tells the story of Sami (Danny Pudi of \u003ci>Community\u003c/i> fame), a Muslim-Indian who immigrates to America in the 1970s in search of a better life. In this context, the romantic comedy can feel like an inadvertent rebuttal within the ongoing national debate surrounding Muslim immigration.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But Khan, herself Muslim-American, never imagined the current political circumstances that have propelled her film into an unavoidably symbolic work.\u003c/p>\n\u003cp>“I was among the people who thought that Donald Trump was never going to become president,” says the 31-year-old filmmaker. “And I didn’t think actually think that Muslim bans or Muslim registries or anything like that would be serious conversation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having always seen film as a vehicle for social activism, Khan understands the importance of media representation in combating misguided perceptions, especially in such a fraught time. And because Muslim characters are often absent, or flatly stereotyped on screen, Khan worried that a story featuring multi-dimensional Muslims at its center would be unwanted. It took film festival screenings, such as one in Austin where “Southern dudes” filled theater seats, for Khan to expel these internalized doubts.\u003c/p>\n\u003cp>https://youtu.be/SiUzXKFfkE8\u003c/p>\n\u003cp>\u003ci>The Tiger Hunter\u003c/i> doesn’t exploit or sensationalize Sami’s Muslim identity — in fact, the detail is barely implied. “I always wanted to make a story having a Muslim character in which that wasn’t the defining part of his story,” Khan says. “I wanted to humanize, and have a real portrayal of a Muslim character.”\u003c/p>\n\u003cp>What takes the fore instead is the rare depiction of a generation of immigrants’ untold struggles. Sami first touches down in the States with the promise of an engineering position at a Chicago manufacturing firm, only to quickly realize the offer has expired. He moves in with a jovial Pakistani immigrant, Babu (Rizwan Manji), and his dozen or so other roommates in a cramped apartment as he plots his way to become a “professional American.”\u003c/p>\n\u003cfigure id=\"attachment_12866399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still4.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sami’s story is indicative of countless Asian and South-Asian immigrant journeys of the 1970s and beyond — coming to America with the promise and potential for prosperity, only to hustle at the bottom within self-created communities in order to survive. But if these stories are tragically ignored in the cultural consciousness, Khan does not lament it, instead crafting her film as a rom-com with heart.\u003c/p>\n\u003cp>While addressing the veracity of the American Dream, Khan peppers the film with hijinks, as Sami attempts to woo his childhood crush and live up to his tiger-hunting father’s legacy. The lighthearted nature is a deliberate strategy.\u003c/p>\n\u003cp>“It’s so much harder to break down people’s prejudices by putting them on the defensive,” Khan says. “I did not want to do a story on all the racism he encounters because your intended audience is automatically turned away and they feel defensive. I wanted to make it something that felt approachable to people so they could have those conversations.”\u003c/p>\n\u003cfigure id=\"attachment_12866402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still1.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nature of those conversations could be varied — if some audiences simply enjoy a love story between two leads who are people of color, Khan would be happy. But other post-viewing dialogue will come from Khan’s insertion, beneath the colorful lighting and laughs, of real-life accounts of experiences from immigrants.\u003c/p>\n\u003cp>“A lot of the things that Babu says were just taken from things that people said,” Khan says. “It just really struck me when somebody said, ‘You go to places like In-N-Out and nobody steals your food when they call your number.’ And he was just enamored by that, for him it was like, this is what America means.”\u003c/p>\n\u003cp>In the present moment, optimism for America is in limbo, Khan says. The very existence of a film like \u003ci>The Tiger Hunter\u003c/i> is a sign of progress for the medium and for gains in sociocultural understanding. But the reasons for the film’s currently heightened significance is equally disheartening.\u003c/p>\n\u003cfigure id=\"attachment_12866400\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lena1200.jpg\" alt=\"Lena Khan\" width=\"1200\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1180x1012.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-520x446.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lena Khan. \u003ccite>(Photo by Lara Solanki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In industry circles, Muslim-Americans are still far and few between, and Khan can still sense the assumptions from those who see a woman in a hijab and think, she says, “You’re foreign, and that you might not know the same movies or have the same working knowledge of things.”\u003c/p>\n\u003cp>But in the vein of the immigrants in \u003ci>The Tiger Hunter\u003c/i>, Khan focuses less on the obstructions and more on the work that needs to be done.\u003c/p>\n\u003cp>And ever slowly, the needle is moving in the right direction.\u003c/p>\n\u003cp>“I’m so excited to see so many who are trying to push toward diversity or trying to use film for the same goals I am,” Khan says. “They’re not necessarily the majority, but they’re there, and that base of people is increasing. I think that’s going to lead to changes as well in bridging some of the divides we have now in this country.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>The Tiger Hunter\u003c/b> opens CAAMFest at 7pm on Thursday, March 9, at the Castro Theater in San Francisco. For tickets and more information visit \u003ca href=\"http://caamfest.com/2017/films/tiger-hunter/\" target=\"_blank\" rel=\"noopener\">caamfest.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Lena Khan's feature-length directorial debut is at once a lighthearted rom-com and a sensitive Muslim immigration tale. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>The Tiger Hunter\u003c/i>, the opening night film for the \u003ca href=\"http://caamfest.com/2017/\" target=\"_blank\" rel=\"noopener\">Center for Asian American Media’s annual film festival\u003c/a> (CAAMFest), could not arrive at a more pertinent and fragile moment. \u003c/p>\n\u003cp>Coming to San Francisco on the heels of President Trump’s most recent travel ban on six predominantly Muslim countries, the feature film debut from writer and director Lena Khan tells the story of Sami (Danny Pudi of \u003ci>Community\u003c/i> fame), a Muslim-Indian who immigrates to America in the 1970s in search of a better life. In this context, the romantic comedy can feel like an inadvertent rebuttal within the ongoing national debate surrounding Muslim immigration.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But Khan, herself Muslim-American, never imagined the current political circumstances that have propelled her film into an unavoidably symbolic work.\u003c/p>\n\u003cp>“I was among the people who thought that Donald Trump was never going to become president,” says the 31-year-old filmmaker. “And I didn’t think actually think that Muslim bans or Muslim registries or anything like that would be serious conversation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having always seen film as a vehicle for social activism, Khan understands the importance of media representation in combating misguided perceptions, especially in such a fraught time. And because Muslim characters are often absent, or flatly stereotyped on screen, Khan worried that a story featuring multi-dimensional Muslims at its center would be unwanted. It took film festival screenings, such as one in Austin where “Southern dudes” filled theater seats, for Khan to expel these internalized doubts.\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/SiUzXKFfkE8'\n title='//www.youtube.com/embed/SiUzXKFfkE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>The Tiger Hunter\u003c/i> doesn’t exploit or sensationalize Sami’s Muslim identity — in fact, the detail is barely implied. “I always wanted to make a story having a Muslim character in which that wasn’t the defining part of his story,” Khan says. “I wanted to humanize, and have a real portrayal of a Muslim character.”\u003c/p>\n\u003cp>What takes the fore instead is the rare depiction of a generation of immigrants’ untold struggles. Sami first touches down in the States with the promise of an engineering position at a Chicago manufacturing firm, only to quickly realize the offer has expired. He moves in with a jovial Pakistani immigrant, Babu (Rizwan Manji), and his dozen or so other roommates in a cramped apartment as he plots his way to become a “professional American.”\u003c/p>\n\u003cfigure id=\"attachment_12866399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still4.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still4-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sami’s story is indicative of countless Asian and South-Asian immigrant journeys of the 1970s and beyond — coming to America with the promise and potential for prosperity, only to hustle at the bottom within self-created communities in order to survive. But if these stories are tragically ignored in the cultural consciousness, Khan does not lament it, instead crafting her film as a rom-com with heart.\u003c/p>\n\u003cp>While addressing the veracity of the American Dream, Khan peppers the film with hijinks, as Sami attempts to woo his childhood crush and live up to his tiger-hunting father’s legacy. The lighthearted nature is a deliberate strategy.\u003c/p>\n\u003cp>“It’s so much harder to break down people’s prejudices by putting them on the defensive,” Khan says. “I did not want to do a story on all the racism he encounters because your intended audience is automatically turned away and they feel defensive. I wanted to make it something that felt approachable to people so they could have those conversations.”\u003c/p>\n\u003cfigure id=\"attachment_12866402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/still1.jpg\" alt=\"Still from 'The Tiger Hunter.'\" width=\"1920\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-800x333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-768x320.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1020x425.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-1180x492.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-960x400.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-375x156.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/still1-520x217.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Tiger Hunter.’ \u003ccite>(Courtesy of the filmmaker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nature of those conversations could be varied — if some audiences simply enjoy a love story between two leads who are people of color, Khan would be happy. But other post-viewing dialogue will come from Khan’s insertion, beneath the colorful lighting and laughs, of real-life accounts of experiences from immigrants.\u003c/p>\n\u003cp>“A lot of the things that Babu says were just taken from things that people said,” Khan says. “It just really struck me when somebody said, ‘You go to places like In-N-Out and nobody steals your food when they call your number.’ And he was just enamored by that, for him it was like, this is what America means.”\u003c/p>\n\u003cp>In the present moment, optimism for America is in limbo, Khan says. The very existence of a film like \u003ci>The Tiger Hunter\u003c/i> is a sign of progress for the medium and for gains in sociocultural understanding. But the reasons for the film’s currently heightened significance is equally disheartening.\u003c/p>\n\u003cfigure id=\"attachment_12866400\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12866400\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Lena1200.jpg\" alt=\"Lena Khan\" width=\"1200\" height=\"1029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-800x686.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1020x875.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-1180x1012.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-960x823.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-240x206.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-375x322.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Lena1200-520x446.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lena Khan. \u003ccite>(Photo by Lara Solanki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In industry circles, Muslim-Americans are still far and few between, and Khan can still sense the assumptions from those who see a woman in a hijab and think, she says, “You’re foreign, and that you might not know the same movies or have the same working knowledge of things.”\u003c/p>\n\u003cp>But in the vein of the immigrants in \u003ci>The Tiger Hunter\u003c/i>, Khan focuses less on the obstructions and more on the work that needs to be done.\u003c/p>\n\u003cp>And ever slowly, the needle is moving in the right direction.\u003c/p>\n\u003cp>“I’m so excited to see so many who are trying to push toward diversity or trying to use film for the same goals I am,” Khan says. “They’re not necessarily the majority, but they’re there, and that base of people is increasing. I think that’s going to lead to changes as well in bridging some of the divides we have now in this country.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>The Tiger Hunter\u003c/b> opens CAAMFest at 7pm on Thursday, March 9, at the Castro Theater in San Francisco. For tickets and more information visit \u003ca href=\"http://caamfest.com/2017/films/tiger-hunter/\" target=\"_blank\" rel=\"noopener\">caamfest.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "#ILookLikeAFilmmaker: Short Films for Women’s History Month",
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"content": "\u003cp>The gender gap behind the scenes in Hollywood is dismal, but film schools like USC and NYU report that \u003ca target=\"_blank\" href=\"http://www.mtv.com/news/2159771/female-directors-college/\" rel=\"noopener\">half their graduates are women\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>Film School Shorts\u003c/em> has featured two dozen up-and-coming female directors over our last four seasons. For Women’s History Month, we put together a \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" title=\"#ILookLikeAFilmmaker: Short Films for Women’s History Month\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>The gender gap behind the scenes in Hollywood is dismal, but film schools like USC and NYU report that \u003ca target=\"_blank\" href=\"http://www.mtv.com/news/2159771/female-directors-college/\" rel=\"noopener\">half their graduates are women\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>Film School Shorts\u003c/em> has featured two dozen up-and-coming female directors over our last four seasons. For Women's History Month, we put together a \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/03/08/ilooklikeafilmmaker-short-films-for-womens-history-month/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "'Logan' Is The Best At What It Does — And What It Does Is Gritty",
"headTitle": "‘Logan’ Is The Best At What It Does — And What It Does Is Gritty | KQED",
"content": "\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\u003c/p>\n\u003cp>https://youtu.be/RH3OxVFvTeg\u003c/p>\n\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\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/RH3OxVFvTeg'\n title='//www.youtube.com/embed/RH3OxVFvTeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Shirley MacLaine Gets 'The Last Word' — And You'll Want It To Be",
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"content": "\u003cp>Actors are the most visible links the movies possess to their own past, because while actors age, the image of them that we carry with us does not. When you look at Shirley MacLaine today, you can see the young widow giggling over a corpse in Alfred Hitchcock’s \u003cem>The Trouble With Harry\u003c/em>, the melancholy mistress in \u003cem>The Apartment\u003c/em> whose radiant smile masks the fact that she’s given up on love and life, and the heartbreaking single mother forced to watch her daughter die in \u003cem>Terms of Endearment\u003c/em>. You can see all of these women at once, if you like, and then you can reflect on MacLaine’s astonishing stature in the Hollywood canon, that infamous ego elevating her whole life to another plane of performance, or her long-held New Age beliefs that she has lived many lives before her current one, nailing the trick of a full existence each time.\u003c/p>\n\u003cp>MacLaine has earned the right to coast by in otherwise unremarkable films that kiss the ground she walks on. It’s the familiar Hollywood old-timer move, pulled off in recent years by the likes of Jane Fonda (\u003cem>Peace, Love, & Misunderstanding\u003c/em>) and Jerry Lewis (\u003cem>Max Rose\u003c/em>).\u003cem> \u003c/em>But it’s rare to see such hero-worshipping star vehicles as unsubtle about their intentions as \u003cem>The Last Word\u003c/em>, in which a mean businesswoman tries to pad her own obituary with good deeds so everyone will fondly remember her after she has passed. Director Mark Pellington’s treacly Sundance dramedy is about a woman shoring up her own legacy, but it’s so empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine’s own memory.\u003c/p>\n\u003cp>MacLaine plays Harriet, a retired ad executive who lives alone in her mansion, bossing around the hired help until a near-death scare compels her to reexamine her life. She recruits Anne, the local newspaper’s obituary writer (Amanda Seyfried), to help her embellish her time on this mortal plane, an absurd breach of journalistic objectivity that’s nevertheless one of the easier things to swallow about Stuart Ross Fink’s insipid script. (“Let me get this straight,” characters say, before repeating the film’s oh-so-quirky premise back to us.)\u003c/p>\n\u003cp>Obituary writers secretly have the most thoughtful, heartfelt jobs in the newsroom. The excellent documentary \u003cem>Obit\u003c/em>, due to arrive in theaters at the end of April, details how these reporters try to capture the best version of their subjects’ lives with less than a day’s notice, employing sweeping yet modest prose while extracting meaningful quotes from emotionally drained friends and family. The brief flashes of wit that do exist in \u003cem>The Last Word\u003c/em> come when it tries to puncture this mythos; commenting on the empty platitudes accompanying a recently deceased acquaintance, Harriet snaps, “She was dead, and they were being polite.” Here we’re meant to see this woman as not only a control freak but also someone who can cut to the core of people, who “tells it like it is,” even (especially) if she has to dance on a grave to do it.\u003c/p>\n\u003cp>Harriet then gives a wildly cynical breakdown of what she sees as the “four essential components of any good obituary,” a checklist for a well-examined life — family, work, community service and “wild card” — that we assume the film is setting us up to transcend. Except it doesn’t. That cynicism becomes the roadmap to Harriet’s own earnest deification: she drags Anne to the local at-risk youth center to deliver a speech that confuses “at-risk” with “taking risks,” then picks out her favorite poor child to mentor, as if shopping at a supermarket. The movie makes a joke about this, and then proceeds to let her do it anyway, selecting a tough black girl (newcomer AnnJewel Lee Dixon) who talks like a middle-aged white man’s idea of a tough black girl, and having her follow the hero everywhere like a potty-mouthed puppy. Minority prop: Check.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rediscovering a love of music, Harriet next dusts off her record collection and wheels it into the local alt-rock radio station, leveraging her bluster and complete lack of DJ experience into a morning drivetime slot. Wild card: check. The current DJ loses her job to this end-of-life crisis case who offers to do it for free, yet later applauds Harriet’s first session, hooting, “Much respect.” There are times like this when the film wants us to find Harriet’s actions life-affirming and cute instead of what they are, which is cruel and selfish. In a reunion with her estranged daughter (Anne Heche, bringing her always-wonderful comic timing), Harriet can’t help but laugh hysterically when she hears how successful she’s become. In her mind this confirms she was a good mother, and thus no longer needs to feel guilt for decades of broken-off contact. This is a special kind of narcissist’s logic that only sounds like redemption to someone who’s never had to truly redeem themselves.\u003c/p>\n\u003cp>MacLaine clearly relishes being worshipped by young folks, and eats up the screen in her DJ chair, delivering withering looks at all of her co-stars. But she never gives her character a sense that any human connections she’s making are intentional. Seyfried’s job, then, is to express on her own face everything that MacLaine does not: to mug and mug, and mug some more, until we accept she’s found her new mother figure. (Anne’s own mother, of course, walked out on her when she was young, presumably bound for the Island of Conveniently Absent Parents.) To jump from Harriet’s gynecologist remarking she has “the angriest vagina this side of China” to an end-of-life revisionist history stating that, actually, the woman wasn’t all bad would take a special emotional leap — or, maybe, just a scene where three cross-generational misfits jump into a lake together.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>How odd it is to see an actor who defines Hollywood royalty entrust her legacy to a movie that doesn’t even know how to pad an obituary correctly. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shirley+MacLaine+Gets+%27The+Last+Word%27+%E2%80%94+And+You%27ll+Want+It+To+Be+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"headline": "Shirley MacLaine Gets 'The Last Word' — And You'll Want It To Be",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actors are the most visible links the movies possess to their own past, because while actors age, the image of them that we carry with us does not. When you look at Shirley MacLaine today, you can see the young widow giggling over a corpse in Alfred Hitchcock’s \u003cem>The Trouble With Harry\u003c/em>, the melancholy mistress in \u003cem>The Apartment\u003c/em> whose radiant smile masks the fact that she’s given up on love and life, and the heartbreaking single mother forced to watch her daughter die in \u003cem>Terms of Endearment\u003c/em>. You can see all of these women at once, if you like, and then you can reflect on MacLaine’s astonishing stature in the Hollywood canon, that infamous ego elevating her whole life to another plane of performance, or her long-held New Age beliefs that she has lived many lives before her current one, nailing the trick of a full existence each time.\u003c/p>\n\u003cp>MacLaine has earned the right to coast by in otherwise unremarkable films that kiss the ground she walks on. It’s the familiar Hollywood old-timer move, pulled off in recent years by the likes of Jane Fonda (\u003cem>Peace, Love, & Misunderstanding\u003c/em>) and Jerry Lewis (\u003cem>Max Rose\u003c/em>).\u003cem> \u003c/em>But it’s rare to see such hero-worshipping star vehicles as unsubtle about their intentions as \u003cem>The Last Word\u003c/em>, in which a mean businesswoman tries to pad her own obituary with good deeds so everyone will fondly remember her after she has passed. Director Mark Pellington’s treacly Sundance dramedy is about a woman shoring up her own legacy, but it’s so empty and witless, dressing up a formulaic story with boatloads of unearned sentiment and embarrassing, one-note characters, that it seems destined to lie here as a bloated paperweight on MacLaine’s own memory.\u003c/p>\n\u003cp>MacLaine plays Harriet, a retired ad executive who lives alone in her mansion, bossing around the hired help until a near-death scare compels her to reexamine her life. She recruits Anne, the local newspaper’s obituary writer (Amanda Seyfried), to help her embellish her time on this mortal plane, an absurd breach of journalistic objectivity that’s nevertheless one of the easier things to swallow about Stuart Ross Fink’s insipid script. (“Let me get this straight,” characters say, before repeating the film’s oh-so-quirky premise back to us.)\u003c/p>\n\u003cp>Obituary writers secretly have the most thoughtful, heartfelt jobs in the newsroom. The excellent documentary \u003cem>Obit\u003c/em>, due to arrive in theaters at the end of April, details how these reporters try to capture the best version of their subjects’ lives with less than a day’s notice, employing sweeping yet modest prose while extracting meaningful quotes from emotionally drained friends and family. The brief flashes of wit that do exist in \u003cem>The Last Word\u003c/em> come when it tries to puncture this mythos; commenting on the empty platitudes accompanying a recently deceased acquaintance, Harriet snaps, “She was dead, and they were being polite.” Here we’re meant to see this woman as not only a control freak but also someone who can cut to the core of people, who “tells it like it is,” even (especially) if she has to dance on a grave to do it.\u003c/p>\n\u003cp>Harriet then gives a wildly cynical breakdown of what she sees as the “four essential components of any good obituary,” a checklist for a well-examined life — family, work, community service and “wild card” — that we assume the film is setting us up to transcend. Except it doesn’t. That cynicism becomes the roadmap to Harriet’s own earnest deification: she drags Anne to the local at-risk youth center to deliver a speech that confuses “at-risk” with “taking risks,” then picks out her favorite poor child to mentor, as if shopping at a supermarket. The movie makes a joke about this, and then proceeds to let her do it anyway, selecting a tough black girl (newcomer AnnJewel Lee Dixon) who talks like a middle-aged white man’s idea of a tough black girl, and having her follow the hero everywhere like a potty-mouthed puppy. Minority prop: Check.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rediscovering a love of music, Harriet next dusts off her record collection and wheels it into the local alt-rock radio station, leveraging her bluster and complete lack of DJ experience into a morning drivetime slot. Wild card: check. The current DJ loses her job to this end-of-life crisis case who offers to do it for free, yet later applauds Harriet’s first session, hooting, “Much respect.” There are times like this when the film wants us to find Harriet’s actions life-affirming and cute instead of what they are, which is cruel and selfish. In a reunion with her estranged daughter (Anne Heche, bringing her always-wonderful comic timing), Harriet can’t help but laugh hysterically when she hears how successful she’s become. In her mind this confirms she was a good mother, and thus no longer needs to feel guilt for decades of broken-off contact. This is a special kind of narcissist’s logic that only sounds like redemption to someone who’s never had to truly redeem themselves.\u003c/p>\n\u003cp>MacLaine clearly relishes being worshipped by young folks, and eats up the screen in her DJ chair, delivering withering looks at all of her co-stars. But she never gives her character a sense that any human connections she’s making are intentional. Seyfried’s job, then, is to express on her own face everything that MacLaine does not: to mug and mug, and mug some more, until we accept she’s found her new mother figure. (Anne’s own mother, of course, walked out on her when she was young, presumably bound for the Island of Conveniently Absent Parents.) To jump from Harriet’s gynecologist remarking she has “the angriest vagina this side of China” to an end-of-life revisionist history stating that, actually, the woman wasn’t all bad would take a special emotional leap — or, maybe, just a scene where three cross-generational misfits jump into a lake together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How odd it is to see an actor who defines Hollywood royalty entrust her legacy to a movie that doesn’t even know how to pad an obituary correctly. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Shirley+MacLaine+Gets+%27The+Last+Word%27+%E2%80%94+And+You%27ll+Want+It+To+Be+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Play About Roe v. Wade, Reimagining Laura Nyro, and Loving a Big Thief",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S1b1MDl6Kc8\u003c/p>\n\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YdaNlZhmHoM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9CibfyfjKLk\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E9Yfildcwpg\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D0E5vMkDfOI\u003c/p>\n\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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/S1b1MDl6Kc8'\n title='//www.youtube.com/embed/S1b1MDl6Kc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\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/YdaNlZhmHoM'\n title='//www.youtube.com/embed/YdaNlZhmHoM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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/9CibfyfjKLk'\n title='//www.youtube.com/embed/9CibfyfjKLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\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/E9Yfildcwpg'\n title='//www.youtube.com/embed/E9Yfildcwpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\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/D0E5vMkDfOI'\n title='//www.youtube.com/embed/D0E5vMkDfOI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For every Academy Award winner developing the next Pixar hit, there is someone toiling away in a basement, working on something that will probably never play in theaters before a \u003cem>Finding Nemo\u003c/em> sequel. But that’s exactly the kind of film Jeanette Bonds and Sean Buckelew want for the \u003ca href=\"http://www.glasanimation.com/\" target=\"_blank\" rel=\"noopener\">GLAS Animation Festival\u003c/a>. \u003c/p>\n\u003cp>While there are plenty of established animation-specific festivals in Europe, Japan, and elsewhere, there are only a handful in the United States, and nothing quite like GLAS. So Bonds helped start the event in 2016, creating a space specifically for independent animators, with Buckelew as lead programmer. Now in its second year, the festival hosts screenings, panels, and more at venues across Berkeley from March 2–5, with a schedule that includes an international mix of films and directors. \u003c/p>\n\u003cp>Both Bonds and Buckelew are graduates of CalArts’ experimental animation program. Before GLAS, Bonds worked as a programmer and screener for events like Slamdance and the Los Angeles Film Festival, while Buckelew created the animated sequences in \u003cem>We are Your Friends\u003c/em> and \u003cem>He Named Me Malala\u003c/em> (and is featured in \u003ca href=\"https://vimeo.com/170070171/9a7d5161c2\" target=\"_blank\" rel=\"noopener\">Season 4 of KQED’s Film School Shorts\u003c/a>). They’re also members of Late Night Work Club, a cohort of indie animators. (The collective has two screenings at GLAS this year, which Bonds and Buckelew highly recommend.)\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/203754807\u003cbr>\n\u003c/aside>\n\u003cp>But GLAS isn’t a festival designed exclusively for a cliquish audience of indie animators. “I think there are curators who are more formal, but Jeanette and I are just into movies,” Buckelew says. “I would show my parents all this stuff and hope they get excited. It’s almost pitching to that level — I like audiences to really enjoy screenings.”\u003c/p>\n\u003cp>The festival has also managed to snag some of the most familiar names in mainstream animation. Last year’s guest of honor was Henry Selick, director of \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Coraline\u003c/em>, while this year features Brad Bird, who made \u003cem>The Iron Giant\u003c/em>, \u003cem>The Incredibles\u003c/em>, and even \u003cem>Mission Impossible: Ghost Protocol\u003c/em>, all of which screen at the fest. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[Bird] is one of the few directors who’s worked in both live action and animation,” Bonds points out. “That’s rare and important and exciting.” \u003c/p>\n\u003cp>While Buckelew is a Berkeley native, neither he nor Bonds live in the Bay Area. As a matter of fact, they’re both based in Los Angeles. So why not host the festival in Hollywood?\u003c/p>\n\u003cp>“L.A. is a 24/7 film festival, and you’re constantly competing with a Robert de Niro thing for 10 bucks somewhere, and most people aren’t even going to that,” Bond says. \u003c/p>\n\u003cfigure id=\"attachment_12832522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg\" alt=\"Scene from 'Deer Flower'\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12832522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘Deer Flower.’ \u003ccite>(Courtesy of GLAS Animation Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley had everything Bonds wanted: multiple theaters within walking distance of each other, hotels and restaurants, and, most importantly, a community that was excited to support a brand new festival. \u003c/p>\n\u003cp>“A lot of other cities didn’t really have that,” Bonds says. \u003c/p>\n\u003cp>And in just two short years, GLAS has managed to attract an audience of animators and fans from across the country and around the world to the East Bay, while still managing to be accessible to a local crowd. \u003c/p>\n\u003cp>“No matter who you are, there’s one or two films you’ll go home and Google and see if they’re online so you can send them to a friend,” Buckelew says. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For every Academy Award winner developing the next Pixar hit, there is someone toiling away in a basement, working on something that will probably never play in theaters before a \u003cem>Finding Nemo\u003c/em> sequel. But that’s exactly the kind of film Jeanette Bonds and Sean Buckelew want for the \u003ca href=\"http://www.glasanimation.com/\" target=\"_blank\" rel=\"noopener\">GLAS Animation Festival\u003c/a>. \u003c/p>\n\u003cp>While there are plenty of established animation-specific festivals in Europe, Japan, and elsewhere, there are only a handful in the United States, and nothing quite like GLAS. So Bonds helped start the event in 2016, creating a space specifically for independent animators, with Buckelew as lead programmer. Now in its second year, the festival hosts screenings, panels, and more at venues across Berkeley from March 2–5, with a schedule that includes an international mix of films and directors. \u003c/p>\n\u003cp>Both Bonds and Buckelew are graduates of CalArts’ experimental animation program. Before GLAS, Bonds worked as a programmer and screener for events like Slamdance and the Los Angeles Film Festival, while Buckelew created the animated sequences in \u003cem>We are Your Friends\u003c/em> and \u003cem>He Named Me Malala\u003c/em> (and is featured in \u003ca href=\"https://vimeo.com/170070171/9a7d5161c2\" target=\"_blank\" rel=\"noopener\">Season 4 of KQED’s Film School Shorts\u003c/a>). They’re also members of Late Night Work Club, a cohort of indie animators. (The collective has two screenings at GLAS this year, which Bonds and Buckelew highly recommend.)\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/203754807\u003cbr>\n\u003c/aside>\n\u003cp>But GLAS isn’t a festival designed exclusively for a cliquish audience of indie animators. “I think there are curators who are more formal, but Jeanette and I are just into movies,” Buckelew says. “I would show my parents all this stuff and hope they get excited. It’s almost pitching to that level — I like audiences to really enjoy screenings.”\u003c/p>\n\u003cp>The festival has also managed to snag some of the most familiar names in mainstream animation. Last year’s guest of honor was Henry Selick, director of \u003cem>The Nightmare Before Christmas\u003c/em> and \u003cem>Coraline\u003c/em>, while this year features Brad Bird, who made \u003cem>The Iron Giant\u003c/em>, \u003cem>The Incredibles\u003c/em>, and even \u003cem>Mission Impossible: Ghost Protocol\u003c/em>, all of which screen at the fest. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[Bird] is one of the few directors who’s worked in both live action and animation,” Bonds points out. “That’s rare and important and exciting.” \u003c/p>\n\u003cp>While Buckelew is a Berkeley native, neither he nor Bonds live in the Bay Area. As a matter of fact, they’re both based in Los Angeles. So why not host the festival in Hollywood?\u003c/p>\n\u003cp>“L.A. is a 24/7 film festival, and you’re constantly competing with a Robert de Niro thing for 10 bucks somewhere, and most people aren’t even going to that,” Bond says. \u003c/p>\n\u003cfigure id=\"attachment_12832522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg\" alt=\"Scene from 'Deer Flower'\" width=\"800\" height=\"451\" class=\"size-medium wp-image-12832522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Deer-Flower.jpg 1980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scene from ‘Deer Flower.’ \u003ccite>(Courtesy of GLAS Animation Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley had everything Bonds wanted: multiple theaters within walking distance of each other, hotels and restaurants, and, most importantly, a community that was excited to support a brand new festival. \u003c/p>\n\u003cp>“A lot of other cities didn’t really have that,” Bonds says. \u003c/p>\n\u003cp>And in just two short years, GLAS has managed to attract an audience of animators and fans from across the country and around the world to the East Bay, while still managing to be accessible to a local crowd. \u003c/p>\n\u003cp>“No matter who you are, there’s one or two films you’ll go home and Google and see if they’re online so you can send them to a friend,” Buckelew says. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"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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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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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",
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"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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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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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. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"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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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"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"
},
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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>",
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"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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