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"content": "\u003cp>Despite growing up in San Francisco, filmmaker Ari Gold has never shot a project in his hometown. His goofy 2008 feature \u003ca href=\"http://www.adventuresofpower.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Adventures of Power\u003c/em>\u003c/a> is set in New Mexico and New Jersey, while his short \u003cem>\u003ca href=\"https://vimeo.com/170525079\" target=\"_blank\" rel=\"noopener\">Culture\u003c/a>\u003c/em> was filmed in a New York City studio. And even though Gold’s Student Academy Award-winner \u003cem>Helicopter\u003c/em> has scenes set in the city, the streetscapes are really just fabrications, built with toy Victorians on a train set model. \u003c/p>\n\u003cp>Though his career has taken shape in New York and Los Angeles, Gold still has notable familial roots in Northern California. Twin brother Ethan is a local musician, and his father Herbert is a well-known Beat novelist. Gold’s mother Melissa is well-known too, but not for the happiest of reasons: in 1991, she and the music promoter Bill Graham — her boyfriend at the time — perished in a helicopter crash near Vallejo. \u003c/p>\n\u003cp>Melissa’s tragic death inspired \u003cem>Helicopter\u003c/em>, a frenetic hybrid of documentary, animation, and fiction. It’s remarkably different from the traditional narratives that usually come out of NYU’s film school. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DAk0ep76WEg\u003c/p>\n\u003cp>“I have to do everything according to how it feels emotionally,” Gold says of his approach to directing, which includes both traditional and non-traditional styles of filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, his professors at NYU thought differently. So in order to make \u003cem>Helicopter\u003c/em>, Gold had to disregard much of their advice, and his only guide was an editing teacher who understood the overall vision. While this maverick approach eventually paid off for Gold, he doesn’t recommend it for every student. \u003c/p>\n\u003cp>“It’s hard to say ‘ignore your teachers,’ because I think you can learn a lot from a teacher and you can learn a lot from their pushback,” he says. “If you’re going to break narrative rules and find yourselves at odds with your school, you better know why. You better not just be because you don’t like following instructions.”\u003c/p>\n\u003cp>In fact, Gold is perfectly comfortable obeying instructions — especially when he’s the one who’s written them. \u003cem>Culture\u003c/em>, produced at NYU and part of Film School Shorts’ fourth season, is a minute-long experiment that follows the 10 rules “set forth in dogma [of] Ari Gold Films.” Though completed just before 2000, the short is surprisingly timeless. While Gold says he wouldn’t change anything about his “suicidal glorification of violence,” he thinks the audience’s interpretation of \u003cem>Culture\u003c/em> has evolved over the last two decades. \u003c/p>\n\u003caside class=\"aligncenter nobrder\">\nhttps://vimeo.com/170525079\u003cbr>\n\u003c/aside>\n\u003cp>“It becomes less and less shocking with each passing year, and in that sense, maybe it shows its age,” he says. When it first screened at Sundance and SXSW back in 1999, “it felt like a slap in the face in the right way, like a wake-up slap,” Gold says. “Now, I think with the insanity of stuff that’s even produced just on YouTube, it might not have the same effect.”\u003c/p>\n\u003cp>Gold has been busy lately completing his second feature, \u003cem>Song of Sway Lake\u003c/em>, plus a novel, a film installation, and more. He’s currently scouting locations for his third original film, and he has plans to re-envision \u003cem>Helicopter\u003c/em> with three to five new shorts. Each will refract off of the original and will follow a new set of rules, this time authored by Gold’s mentor, Alejandro Jodorowsky, director of \u003ci>The Holy Mountain\u003c/i> and \u003ci>El Topo\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Only this time, Gold will actually shoot in San Francisco. \u003c/p>\n\n",
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"title": "Hooray for #OscarsLessWhite — Now What About the Next Four Years?",
"headTitle": "Hooray for #OscarsLessWhite — Now What About the Next Four Years? | KQED",
"content": "\u003cp>At long last, the Academy Awards got younger, blacker and hipper. Not all the way down the line, mind you, but enough to mark a sea change in Oscar’s inclusiveness after some \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">high-profile hashtag criticism\u003c/a>. Most visibly, six of the 20 acting nominees are black. Even more remarkable, a small, seemingly niche independent film about gay black men in Florida (\u003cem>\u003ca href=\"http://moonlight.movie/\" target=\"_blank\" rel=\"noopener\">Moonlight\u003c/a>\u003c/em>) was nominated for Best Picture, as well as Director, Supporting Actor, Adapted Screenplay, Cinematography, Editing and Original Score.\u003c/p>\n\u003cp>Three of the Documentary Feature finalists center on black protagonists and race (\u003cem>\u003ca href=\"http://www.iamnotyournegrofilm.com/\" target=\"_blank\" rel=\"noopener\">I Am Not Your Negro\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.espn.com/30for30/ojsimpsonmadeinamerica/\" target=\"_blank\" rel=\"noopener\">O.J.: Made in America\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener\">13th\u003c/a>\u003c/em>), which was anticipated given the attention each film generated. More surprising, though, is the domination of the Adapted Screenplay category by black stories (\u003cem>\u003ca href=\"http://www.fencesmovie.com/\" target=\"_blank\" rel=\"noopener\">Fences\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.foxmovies.com/movies/hidden-figures\" target=\"_blank\" rel=\"noopener\">Hidden Figures\u003c/a>\u003c/em> and \u003cem>Moonlight\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12672631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/fences-800.jpg\" alt=\"Viola Davis and Denzel Washington in 'Fences.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis and Denzel Washington in ‘Fences.’ \u003ccite>(David Lee/Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can’t count \u003cem>Moonlight\u003c/em>’s Barry Jenkins, who shot his wonderful 2008 debut \u003cem>Medicine for Melancholy\u003c/em> in San Francisco, as a local filmmaker anymore, so the Bay Area contingent consists of nominees for documentary shorts: Dan Kraus (\u003cem>\u003ca href=\"https://www.netflix.com/title/80106307\" target=\"_blank\" rel=\"noopener\">Extremis\u003c/a>\u003c/em>, his second nomination in this category) and U.C. Berkeley journalism grad Daphne Matziaraki (\u003cem>\u003ca href=\"https://www.nytimes.com/2016/09/28/opinion/4-1-miles.html\" target=\"_blank\" rel=\"noopener\">4.1 Miles\u003c/a>\u003c/em>). Pixar wasn’t a serious contender this year for Best Animated Feature, but is nominated for Best Animated Short (\u003cem>Piper\u003c/em>); the company also took some solace in the billion dollars that \u003cem>Finding Dory\u003c/em> grossed around the world.\u003c/p>\n\u003cp>The voting took place in the wake of the general election, and it’s conceivable that the results made some Academy members more determined to support minority artists and marginalized stories. However, \u003ca href=\"https://www.nytimes.com/2017/01/08/arts/television/meryl-streep-golden-globes-speech.html\" target=\"_blank\" rel=\"noopener\">Meryl Streep’s gutsy speech at the Golden Globes\u003c/a> ceremony took place after Oscar balloting closed, so neither her remarks nor a perverse desire to troll the Tweeter-in-Chief (who dismissed La Streep as “overrated”) played a part in her Best Actress nomination for \u003cem>\u003ca href=\"http://www.florencefosterjenkinsmovie.com/\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12672633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg\" alt=\"Ashton Sanders in Barry Jenkins' 'Moonlight.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashton Sanders in Barry Jenkins’ ‘Moonlight.’\u003cbr> \u003ccite>(David Bornfriend/Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is all to say it’s delving much too deeply into the tea leaves to describe this batch of Oscar nominations as fallout from Donald Trump’s selection to the Oval Office. However, we can certainly anticipate that a slew of acceptance speeches on Oscar night (Feb. 26) will call out his policies and name-check social agencies and arts nonprofits. (I’ll set the over/under at five.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A more interesting question is whether the kind of movies that get funded and made — by the studios as well as by independent financiers — will change over the next year or two. Studios focused on mainstream blockbusters and the international box office might feel more of an urge to sand the edges and dialogue. But streaming services like Netflix and Amazon, with their vast household penetration, are not only immune to political and box-office pressure but actively program for the left-leaning half of the country.\u003c/p>\n\u003cfigure id=\"attachment_12672632\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg\" alt=\"A still from 'Hidden Figures.'\" width=\"1200\" height=\"646\" class=\"size-full wp-image-12672632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-520x280.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Hidden Figures.’ \u003ccite>(Courtesy of 20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the present, and as a counterbalance to \u003cem>Moonlight\u003c/em>’s breakthrough, the overall domination of \u003cem>\u003ca href=\"http://www.lalaland.movie/\" target=\"_blank\" rel=\"noopener\">La La Land\u003c/a>\u003c/em> (14 nominations) could be viewed as a measure of the Academy’s residual conservatism. Movie musicals are willfully anachronistic throwbacks, of course, and escapism with a dollop of artistry is catnip to older Academy voters. \u003cem>La La Land\u003c/em> embodies Hollywood’s primary mission: entertainment. And the film’s chutzpah — that is, its very existence — won admirers in every demographic.\u003c/p>\n\u003cp>The Old Guard’s presence is reflected in the Best Picture nomination for the bloody war picture \u003cem>\u003ca href=\"http://www.hacksawridge.movie/\" target=\"_blank\" rel=\"noopener\">Hacksaw Ridge\u003c/a>\u003c/em> and the Best Director nod to its, ahem, deeply flawed comeback kid, Mel Gibson. (Lead Andrew Garfield was also nominated for Best Actor.) I’ll be rooting against the movie on Oscar Night for one simple reason: I don’t want to see a picture of Trump and Gibson shaking hands at the White House.\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\u003cp>\u003c/p>\n\u003cp>\u003ci>See all the Academy Award nominees at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2017\" target=\"_blank\" rel=\"noopener\">oscars.org\u003c/a> and watch the ceremony on Sunday, Feb. 26.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At long last, the Academy Awards got younger, blacker and hipper. Will this trend continue in the years ahead?",
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"title": "Hooray for #OscarsLessWhite — Now What About the Next Four Years? | KQED",
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"headline": "Hooray for #OscarsLessWhite — Now What About the Next Four Years?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At long last, the Academy Awards got younger, blacker and hipper. Not all the way down the line, mind you, but enough to mark a sea change in Oscar’s inclusiveness after some \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">high-profile hashtag criticism\u003c/a>. Most visibly, six of the 20 acting nominees are black. Even more remarkable, a small, seemingly niche independent film about gay black men in Florida (\u003cem>\u003ca href=\"http://moonlight.movie/\" target=\"_blank\" rel=\"noopener\">Moonlight\u003c/a>\u003c/em>) was nominated for Best Picture, as well as Director, Supporting Actor, Adapted Screenplay, Cinematography, Editing and Original Score.\u003c/p>\n\u003cp>Three of the Documentary Feature finalists center on black protagonists and race (\u003cem>\u003ca href=\"http://www.iamnotyournegrofilm.com/\" target=\"_blank\" rel=\"noopener\">I Am Not Your Negro\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.espn.com/30for30/ojsimpsonmadeinamerica/\" target=\"_blank\" rel=\"noopener\">O.J.: Made in America\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener\">13th\u003c/a>\u003c/em>), which was anticipated given the attention each film generated. More surprising, though, is the domination of the Adapted Screenplay category by black stories (\u003cem>\u003ca href=\"http://www.fencesmovie.com/\" target=\"_blank\" rel=\"noopener\">Fences\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.foxmovies.com/movies/hidden-figures\" target=\"_blank\" rel=\"noopener\">Hidden Figures\u003c/a>\u003c/em> and \u003cem>Moonlight\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12672631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/fences-800.jpg\" alt=\"Viola Davis and Denzel Washington in 'Fences.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis and Denzel Washington in ‘Fences.’ \u003ccite>(David Lee/Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can’t count \u003cem>Moonlight\u003c/em>’s Barry Jenkins, who shot his wonderful 2008 debut \u003cem>Medicine for Melancholy\u003c/em> in San Francisco, as a local filmmaker anymore, so the Bay Area contingent consists of nominees for documentary shorts: Dan Kraus (\u003cem>\u003ca href=\"https://www.netflix.com/title/80106307\" target=\"_blank\" rel=\"noopener\">Extremis\u003c/a>\u003c/em>, his second nomination in this category) and U.C. Berkeley journalism grad Daphne Matziaraki (\u003cem>\u003ca href=\"https://www.nytimes.com/2016/09/28/opinion/4-1-miles.html\" target=\"_blank\" rel=\"noopener\">4.1 Miles\u003c/a>\u003c/em>). Pixar wasn’t a serious contender this year for Best Animated Feature, but is nominated for Best Animated Short (\u003cem>Piper\u003c/em>); the company also took some solace in the billion dollars that \u003cem>Finding Dory\u003c/em> grossed around the world.\u003c/p>\n\u003cp>The voting took place in the wake of the general election, and it’s conceivable that the results made some Academy members more determined to support minority artists and marginalized stories. However, \u003ca href=\"https://www.nytimes.com/2017/01/08/arts/television/meryl-streep-golden-globes-speech.html\" target=\"_blank\" rel=\"noopener\">Meryl Streep’s gutsy speech at the Golden Globes\u003c/a> ceremony took place after Oscar balloting closed, so neither her remarks nor a perverse desire to troll the Tweeter-in-Chief (who dismissed La Streep as “overrated”) played a part in her Best Actress nomination for \u003cem>\u003ca href=\"http://www.florencefosterjenkinsmovie.com/\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12672633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg\" alt=\"Ashton Sanders in Barry Jenkins' 'Moonlight.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashton Sanders in Barry Jenkins’ ‘Moonlight.’\u003cbr> \u003ccite>(David Bornfriend/Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is all to say it’s delving much too deeply into the tea leaves to describe this batch of Oscar nominations as fallout from Donald Trump’s selection to the Oval Office. However, we can certainly anticipate that a slew of acceptance speeches on Oscar night (Feb. 26) will call out his policies and name-check social agencies and arts nonprofits. (I’ll set the over/under at five.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A more interesting question is whether the kind of movies that get funded and made — by the studios as well as by independent financiers — will change over the next year or two. Studios focused on mainstream blockbusters and the international box office might feel more of an urge to sand the edges and dialogue. But streaming services like Netflix and Amazon, with their vast household penetration, are not only immune to political and box-office pressure but actively program for the left-leaning half of the country.\u003c/p>\n\u003cfigure id=\"attachment_12672632\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg\" alt=\"A still from 'Hidden Figures.'\" width=\"1200\" height=\"646\" class=\"size-full wp-image-12672632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-520x280.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Hidden Figures.’ \u003ccite>(Courtesy of 20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the present, and as a counterbalance to \u003cem>Moonlight\u003c/em>’s breakthrough, the overall domination of \u003cem>\u003ca href=\"http://www.lalaland.movie/\" target=\"_blank\" rel=\"noopener\">La La Land\u003c/a>\u003c/em> (14 nominations) could be viewed as a measure of the Academy’s residual conservatism. Movie musicals are willfully anachronistic throwbacks, of course, and escapism with a dollop of artistry is catnip to older Academy voters. \u003cem>La La Land\u003c/em> embodies Hollywood’s primary mission: entertainment. And the film’s chutzpah — that is, its very existence — won admirers in every demographic.\u003c/p>\n\u003cp>The Old Guard’s presence is reflected in the Best Picture nomination for the bloody war picture \u003cem>\u003ca href=\"http://www.hacksawridge.movie/\" target=\"_blank\" rel=\"noopener\">Hacksaw Ridge\u003c/a>\u003c/em> and the Best Director nod to its, ahem, deeply flawed comeback kid, Mel Gibson. (Lead Andrew Garfield was also nominated for Best Actor.) I’ll be rooting against the movie on Oscar Night for one simple reason: I don’t want to see a picture of Trump and Gibson shaking hands at the White House.\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\u003cp>\u003c/p>\n\u003cp>\u003ci>See all the Academy Award nominees at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2017\" target=\"_blank\" rel=\"noopener\">oscars.org\u003c/a> and watch the ceremony on Sunday, Feb. 26.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "2017 Oscars: The Snubs and Surprises That Are Making the Internet Angry",
"title": "2017 Oscars: The Snubs and Surprises That Are Making the Internet Angry",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>This morning at the ungodly hour of 5:30am, the Oscar nominations were unveiled. You would think, this late in the award season, that most of the nominations would be locked in, but sometimes the unexpected happens and a surprise contender sneaks in and throws everything off. Here’s how this year’s nominations shook out:\u003c/p>\n\u003cp>\u003cstrong>Best Actress:\u003c/strong>\u003c/p>\n\u003cp>Isabelle Huppert, \u003cem>Elle\u003c/em>\u003cbr>\nRuth Negga, \u003cem>Loving\u003c/em>\u003cbr>\nNatalie Portman, \u003cem>Jackie\u003c/em>\u003cbr>\nEmma Stone, \u003cem>La La Land\u003c/em>\u003cbr>\nMeryl Streep, \u003cem>Florence Foster Jenkins\u003c/em>\u003c/p>\n\u003cp>Last year, Leonardo DiCaprio was finally liberated from being the subject of \u003ca href=\"http://observer.com/2016/02/11-hilarious-memes-of-leonardo-dicaprio-struggling-to-win-an-oscar/\">Wants-An-Oscar-So-Badly-But-Will-Never-Get-One memes\u003c/a>. Five-time nominee Amy Adams is looking like his replacement, as she's missed out on a nomination for her work in \u003cem>Arrival \u003c/em>(a sting that burns more, considering the film grabbed eight nominations, including Best Picture, tied for the second-most noms this year). Four-time nominee Annette Bening knows the feeling. Critics drooled over her work in \u003cem>20th Century Women\u003c/em>, but, alas, no love here.\u003cem> \u003c/em>On the flip side,\u003cem> \u003c/em>Isabelle Huppert, riding high after a surprise Golden Globe win last month, squeezed her way into this category. \u003cem>Comment dit-on \u003c/em>“Get it, girl”\u003cem> en français?\u003c/em> And some things remain constant: Meryl Streep is here with her 20th nomination, on the heels of \u003ca href=\"https://ww2.kqed.org/pop/2017/01/08/watch-meryl-streep-call-out-trump-defend-foreigners-and-the-press-in-emotional-golden-globes-speech/\">that epic Golden Globes speech\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Best Actor: \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Casey Affleck, \u003cem>Manchester by the Sea\u003c/em>\u003cbr>\nAndrew Garfield, \u003cem>Hacksaw Ridge\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>La La Land\u003c/em>\u003cbr>\nViggo Mortensen, \u003cem>Captain Fantastic\u003c/em>\u003cbr>\nDenzel Washington, \u003cem>Fences\u003c/em>\u003c/p>\n\u003cp>Viggo Mortensen's inclusion for a movie most people have never heard of is a surprise, but an even bigger surprise is how Casey Affleck continues to be Teflon against \u003ca href=\"http://nymag.com/thecut/2016/11/why-the-casey-affleck-sex-harassment-allegations-wont-stick.html\">the sexual harassment allegations \u003c/a>out there. The same can't be said for Nate Parker, who received zero nominations for his much-buzzed-about film \u003cem>The Birth of a Nation.\u003c/em>\u003ca href=\"https://ww2.kqed.org/pop/2016/09/01/summer-recap-ryan-lochte-and-other-white-dudes-are-teflon-get-away-with-everything/\"> Being a white man has its perks.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress:\u003c/strong>\u003c/p>\n\u003cp>Viola Davis, \u003cem>Fences\u003c/em>\u003cbr>\nNaomie Harris, \u003cem>Moonlight\u003c/em>\u003cbr>\nNicole Kidman, \u003cem>Lion\u003c/em>\u003cbr>\nOctavia Spencer, \u003cem>Hidden Figures\u003c/em>\u003cbr>\nMichelle Williams, \u003cem>Manchester by the Sea\u003c/em>\u003c/p>\n\u003cp>Coming off of two consecutive #OscarsSoWhite years, which saw all 20 acting nods go to white people, it's a pleasant surprise to see the Academy Awards actually recognize three deserving women of color. Sweetening that deal, Viola Davis now holds the record for most Oscar nominations for a black woman (this is her third). Another bright, yet petty note: Nicole Kidman now has more Oscar noms than Tom Cruise.\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor:\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali, \u003cem>Moonlight\u003c/em>\u003cbr>\nJeff Bridges, \u003cem>Hell or High Water\u003c/em>\u003cbr>\nLucas Hedges, \u003cem>Manchester by the Sea\u003c/em>\u003cbr>\nDev Patel, \u003cem>Lion\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Nocturnal Animals\u003c/em>\u003c/p>\n\u003cp>Everyone thought Mahershala Ali had the Golden Globe in the bag, but then some random named Aaron Taylor-Johnson came out of nowhere and took the prize for his work in \u003cem>Nocturnal Animals. \u003c/em>People started wondering,\u003cem> Will this guy win the Oscar?\u003c/em> Not so much. His co-star Michael Shannon managed to edge him out for a nod at the last minute. I'm #TeamMoonlight all the way, but, if Ali doesn't win for some reason, here's hoping Shannon does. The outspoken -- \u003ca href=\"http://www.vulture.com/2016/11/michael-shannon-is-on-an-anti-trump-rage-tour.html\">to put it mildly\u003c/a> -- actor's speech could resemble \u003ca href=\"https://ww2.kqed.org/pop/2017/01/08/watch-meryl-streep-call-out-trump-defend-foreigners-and-the-press-in-emotional-golden-globes-speech/\">Meryl Streep at the Golden Globes\u003c/a> on steroids. Consider his reaction to today's honor a preview: \"Nice to get some good news in the midst of all the carnage, so to speak.”\u003c/p>\n\u003cp>\u003cstrong>Best Director:\u003c/strong>\u003c/p>\n\u003cp>Denis Villeneuve (\u003cem>Arrival)\u003c/em>\u003cbr>\nMel Gibson (\u003cem>Hacksaw Ridge)\u003c/em>\u003cbr>\nDamien Chazelle (\u003cem>La La Land)\u003c/em>\u003cbr>\nKenneth Lonergan (\u003cem>Manchester by the Sea)\u003c/em>\u003cbr>\nBarry Jenkins (\u003cem>Moonlight)\u003c/em>\u003c/p>\n\u003cp>The big surprise here is that Hollywood thought this was a good time in world history to honor Mel Gibson, a man known for \u003ca href=\"http://gawker.com/5582644/all-the-terrible-things-mel-gibson-has-said-on-the-record\">his sloppy history\u003c/a> of anti-Semitism, racism, homophobia, misogyny, domestic abuse, etc. Gibson seems to have edged out big names Martin Scorsese (for \u003cem>Silence\u003c/em>) and Clint Eastwood (for \u003cem>Sully\u003c/em>). But enough about him: the amazing Barry Jenkins could become the first black person to win Best Director at the Oscars (he's already the first black man to get nominations for Best Picture, Best Screenplay, \u003cem>and\u003c/em> Best Director).\u003c/p>\n\u003cp>\u003cstrong>Best Original Song:\u003c/strong>\u003c/p>\n\u003cp>“Audition (The Fools Who Dream),” \u003cem>La La Land\u003c/em>\u003cbr>\n“Can’t Stop the Feeling,” \u003cem>Trolls\u003c/em>\u003cbr>\n“City of Stars,” \u003cem>La La Land\u003c/em>\u003cbr>\n“The Empty Chair,” \u003cem>Jim: The James Foley Story\u003c/em>\u003cbr>\n“How Far I’ll Go,” \u003cem>Moana\u003c/em>\u003c/p>\n\u003cp>A big snub here is Pharrell Williams' “I See A Victory” from \u003cem>Hidden Figures\u003c/em>. Making this exclusion worse is that Justin Timberlake is nominated for \"Can't Stop the Feeling,\" which is essentially a giant rip-off of Pharrell's \"Happy\" and, more generally, a scourge on all those with eardrums. Another nomination that has many scratching their heads: Sting's \"The Empty Chair\" for a movie you're just now hearing about for the first time.\u003c/p>\n\u003cp>\u003cstrong>Best Film Editing:\u003c/strong>\u003cbr>\n\u003cem>Arrival\u003cbr>\nHacksaw Ridge\u003cbr>\nHell or High Water\u003cbr>\nLa La Land\u003cbr>\nMoonlight\u003c/em>\u003c/p>\n\u003cp>You hear that sound? It's a glass ceiling breaking! \u003cem>Moonlight\u003c/em>’s Joi McMillion is the first black woman to ever be nominated in this category. And if the Academy knows what it's doing, she'll also be the first black woman to win.\u003c/p>\n\u003cp>\u003cstrong>Best Picture:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Arrival\u003cbr>\nFences\u003cbr>\nHacksaw Ridge\u003cbr>\nHell or High Water\u003cbr>\nHidden Figures\u003cbr>\nLa La Land\u003cbr>\nLion\u003cbr>\nManchester by the Sea\u003cbr>\nMoonlight\u003c/em>\u003c/p>\n\u003cp>Shockingly,\u003cem> \u003ca href=\"http://www.vulture.com/2017/01/jenna-bush-hager-apologizes-for-hidden-fences-snafu.html\">Hidden Fences\u003c/a>\u003c/em> didn't get a single nomination, despite being a movie that only exists \u003ca href=\"http://www.vulture.com/2017/01/jenna-bush-hager-apologizes-for-hidden-fences-snafu.html\" target=\"_blank\">in Jenna Bush's head\u003c/a>. Joking aside, most of these picks were expected, although some critics expected box-office juggernauts and crowd-favorites \u003cem>Finding Dory\u003c/em> and \u003cem>Deadpool\u003c/em> to sneak in. Fun fact: Amazon's \u003cem>Manchester by the Sea\u003c/em> becomes the first feature from a streaming-video company to be nominated in this category.\u003c/p>\n\u003cp>\u003cstrong>Best Animated Feature:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Kubo and the Two Strings\u003cbr>\nMoana\u003cbr>\nMy Life as a Zucchini\u003cbr>\nThe Red Turtle\u003cbr>\nZootopia\u003c/em>\u003c/p>\n\u003cp>Despite making more than a billion dollars at the box office, \u003cem>Finding Dory\u003c/em> was left out of this category. Sequel haters gonna hate, hate, hate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Okay, that’s enough outrage for one post. Check out \u003ca href=\"http://oscar.go.com/nominees\">the full list of nominees\u003c/a>. And tune in to the Oscars on February 26, 2017.\u003c/p>\n\n",
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"excerpt": "Amy Adams inherits Leonardo DiCaprio's No-You're-Never-Gonna-Get-It curse.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This morning at the ungodly hour of 5:30am, the Oscar nominations were unveiled. You would think, this late in the award season, that most of the nominations would be locked in, but sometimes the unexpected happens and a surprise contender sneaks in and throws everything off. Here’s how this year’s nominations shook out:\u003c/p>\n\u003cp>\u003cstrong>Best Actress:\u003c/strong>\u003c/p>\n\u003cp>Isabelle Huppert, \u003cem>Elle\u003c/em>\u003cbr>\nRuth Negga, \u003cem>Loving\u003c/em>\u003cbr>\nNatalie Portman, \u003cem>Jackie\u003c/em>\u003cbr>\nEmma Stone, \u003cem>La La Land\u003c/em>\u003cbr>\nMeryl Streep, \u003cem>Florence Foster Jenkins\u003c/em>\u003c/p>\n\u003cp>Last year, Leonardo DiCaprio was finally liberated from being the subject of \u003ca href=\"http://observer.com/2016/02/11-hilarious-memes-of-leonardo-dicaprio-struggling-to-win-an-oscar/\">Wants-An-Oscar-So-Badly-But-Will-Never-Get-One memes\u003c/a>. Five-time nominee Amy Adams is looking like his replacement, as she's missed out on a nomination for her work in \u003cem>Arrival \u003c/em>(a sting that burns more, considering the film grabbed eight nominations, including Best Picture, tied for the second-most noms this year). Four-time nominee Annette Bening knows the feeling. Critics drooled over her work in \u003cem>20th Century Women\u003c/em>, but, alas, no love here.\u003cem> \u003c/em>On the flip side,\u003cem> \u003c/em>Isabelle Huppert, riding high after a surprise Golden Globe win last month, squeezed her way into this category. \u003cem>Comment dit-on \u003c/em>“Get it, girl”\u003cem> en français?\u003c/em> And some things remain constant: Meryl Streep is here with her 20th nomination, on the heels of \u003ca href=\"https://ww2.kqed.org/pop/2017/01/08/watch-meryl-streep-call-out-trump-defend-foreigners-and-the-press-in-emotional-golden-globes-speech/\">that epic Golden Globes speech\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Best Actor: \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Casey Affleck, \u003cem>Manchester by the Sea\u003c/em>\u003cbr>\nAndrew Garfield, \u003cem>Hacksaw Ridge\u003c/em>\u003cbr>\nRyan Gosling, \u003cem>La La Land\u003c/em>\u003cbr>\nViggo Mortensen, \u003cem>Captain Fantastic\u003c/em>\u003cbr>\nDenzel Washington, \u003cem>Fences\u003c/em>\u003c/p>\n\u003cp>Viggo Mortensen's inclusion for a movie most people have never heard of is a surprise, but an even bigger surprise is how Casey Affleck continues to be Teflon against \u003ca href=\"http://nymag.com/thecut/2016/11/why-the-casey-affleck-sex-harassment-allegations-wont-stick.html\">the sexual harassment allegations \u003c/a>out there. The same can't be said for Nate Parker, who received zero nominations for his much-buzzed-about film \u003cem>The Birth of a Nation.\u003c/em>\u003ca href=\"https://ww2.kqed.org/pop/2016/09/01/summer-recap-ryan-lochte-and-other-white-dudes-are-teflon-get-away-with-everything/\"> Being a white man has its perks.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress:\u003c/strong>\u003c/p>\n\u003cp>Viola Davis, \u003cem>Fences\u003c/em>\u003cbr>\nNaomie Harris, \u003cem>Moonlight\u003c/em>\u003cbr>\nNicole Kidman, \u003cem>Lion\u003c/em>\u003cbr>\nOctavia Spencer, \u003cem>Hidden Figures\u003c/em>\u003cbr>\nMichelle Williams, \u003cem>Manchester by the Sea\u003c/em>\u003c/p>\n\u003cp>Coming off of two consecutive #OscarsSoWhite years, which saw all 20 acting nods go to white people, it's a pleasant surprise to see the Academy Awards actually recognize three deserving women of color. Sweetening that deal, Viola Davis now holds the record for most Oscar nominations for a black woman (this is her third). Another bright, yet petty note: Nicole Kidman now has more Oscar noms than Tom Cruise.\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor:\u003c/strong>\u003c/p>\n\u003cp>Mahershala Ali, \u003cem>Moonlight\u003c/em>\u003cbr>\nJeff Bridges, \u003cem>Hell or High Water\u003c/em>\u003cbr>\nLucas Hedges, \u003cem>Manchester by the Sea\u003c/em>\u003cbr>\nDev Patel, \u003cem>Lion\u003c/em>\u003cbr>\nMichael Shannon, \u003cem>Nocturnal Animals\u003c/em>\u003c/p>\n\u003cp>Everyone thought Mahershala Ali had the Golden Globe in the bag, but then some random named Aaron Taylor-Johnson came out of nowhere and took the prize for his work in \u003cem>Nocturnal Animals. \u003c/em>People started wondering,\u003cem> Will this guy win the Oscar?\u003c/em> Not so much. His co-star Michael Shannon managed to edge him out for a nod at the last minute. I'm #TeamMoonlight all the way, but, if Ali doesn't win for some reason, here's hoping Shannon does. The outspoken -- \u003ca href=\"http://www.vulture.com/2016/11/michael-shannon-is-on-an-anti-trump-rage-tour.html\">to put it mildly\u003c/a> -- actor's speech could resemble \u003ca href=\"https://ww2.kqed.org/pop/2017/01/08/watch-meryl-streep-call-out-trump-defend-foreigners-and-the-press-in-emotional-golden-globes-speech/\">Meryl Streep at the Golden Globes\u003c/a> on steroids. Consider his reaction to today's honor a preview: \"Nice to get some good news in the midst of all the carnage, so to speak.”\u003c/p>\n\u003cp>\u003cstrong>Best Director:\u003c/strong>\u003c/p>\n\u003cp>Denis Villeneuve (\u003cem>Arrival)\u003c/em>\u003cbr>\nMel Gibson (\u003cem>Hacksaw Ridge)\u003c/em>\u003cbr>\nDamien Chazelle (\u003cem>La La Land)\u003c/em>\u003cbr>\nKenneth Lonergan (\u003cem>Manchester by the Sea)\u003c/em>\u003cbr>\nBarry Jenkins (\u003cem>Moonlight)\u003c/em>\u003c/p>\n\u003cp>The big surprise here is that Hollywood thought this was a good time in world history to honor Mel Gibson, a man known for \u003ca href=\"http://gawker.com/5582644/all-the-terrible-things-mel-gibson-has-said-on-the-record\">his sloppy history\u003c/a> of anti-Semitism, racism, homophobia, misogyny, domestic abuse, etc. Gibson seems to have edged out big names Martin Scorsese (for \u003cem>Silence\u003c/em>) and Clint Eastwood (for \u003cem>Sully\u003c/em>). But enough about him: the amazing Barry Jenkins could become the first black person to win Best Director at the Oscars (he's already the first black man to get nominations for Best Picture, Best Screenplay, \u003cem>and\u003c/em> Best Director).\u003c/p>\n\u003cp>\u003cstrong>Best Original Song:\u003c/strong>\u003c/p>\n\u003cp>“Audition (The Fools Who Dream),” \u003cem>La La Land\u003c/em>\u003cbr>\n“Can’t Stop the Feeling,” \u003cem>Trolls\u003c/em>\u003cbr>\n“City of Stars,” \u003cem>La La Land\u003c/em>\u003cbr>\n“The Empty Chair,” \u003cem>Jim: The James Foley Story\u003c/em>\u003cbr>\n“How Far I’ll Go,” \u003cem>Moana\u003c/em>\u003c/p>\n\u003cp>A big snub here is Pharrell Williams' “I See A Victory” from \u003cem>Hidden Figures\u003c/em>. Making this exclusion worse is that Justin Timberlake is nominated for \"Can't Stop the Feeling,\" which is essentially a giant rip-off of Pharrell's \"Happy\" and, more generally, a scourge on all those with eardrums. Another nomination that has many scratching their heads: Sting's \"The Empty Chair\" for a movie you're just now hearing about for the first time.\u003c/p>\n\u003cp>\u003cstrong>Best Film Editing:\u003c/strong>\u003cbr>\n\u003cem>Arrival\u003cbr>\nHacksaw Ridge\u003cbr>\nHell or High Water\u003cbr>\nLa La Land\u003cbr>\nMoonlight\u003c/em>\u003c/p>\n\u003cp>You hear that sound? It's a glass ceiling breaking! \u003cem>Moonlight\u003c/em>’s Joi McMillion is the first black woman to ever be nominated in this category. And if the Academy knows what it's doing, she'll also be the first black woman to win.\u003c/p>\n\u003cp>\u003cstrong>Best Picture:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Arrival\u003cbr>\nFences\u003cbr>\nHacksaw Ridge\u003cbr>\nHell or High Water\u003cbr>\nHidden Figures\u003cbr>\nLa La Land\u003cbr>\nLion\u003cbr>\nManchester by the Sea\u003cbr>\nMoonlight\u003c/em>\u003c/p>\n\u003cp>Shockingly,\u003cem> \u003ca href=\"http://www.vulture.com/2017/01/jenna-bush-hager-apologizes-for-hidden-fences-snafu.html\">Hidden Fences\u003c/a>\u003c/em> didn't get a single nomination, despite being a movie that only exists \u003ca href=\"http://www.vulture.com/2017/01/jenna-bush-hager-apologizes-for-hidden-fences-snafu.html\" target=\"_blank\">in Jenna Bush's head\u003c/a>. Joking aside, most of these picks were expected, although some critics expected box-office juggernauts and crowd-favorites \u003cem>Finding Dory\u003c/em> and \u003cem>Deadpool\u003c/em> to sneak in. Fun fact: Amazon's \u003cem>Manchester by the Sea\u003c/em> becomes the first feature from a streaming-video company to be nominated in this category.\u003c/p>\n\u003cp>\u003cstrong>Best Animated Feature:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Kubo and the Two Strings\u003cbr>\nMoana\u003cbr>\nMy Life as a Zucchini\u003cbr>\nThe Red Turtle\u003cbr>\nZootopia\u003c/em>\u003c/p>\n\u003cp>Despite making more than a billion dollars at the box office, \u003cem>Finding Dory\u003c/em> was left out of this category. Sequel haters gonna hate, hate, hate.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Okay, that’s enough outrage for one post. Check out \u003ca href=\"http://oscar.go.com/nominees\">the full list of nominees\u003c/a>. And tune in to the Oscars on February 26, 2017.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The octogenarian New York filmmaker Ken Jacobs is a genuine American treasure — an obsessive and impassioned chronicler of both his perpetually changing city and the free-associative, free-wheeling characters who embody our nation’s basic and endangered principles of expression and experimentation. In 1989, after the deaths a week apart of his close friends and artistic collaborators Bob Fleischner (who founded the \u003ca href=\"https://en.wikipedia.org/wiki/Collective_for_Living_Cinema\" target=\"_blank\" rel=\"noopener\">Collective for Living Cinema\u003c/a>) and Jack Smith (\u003cem>Flaming Creatures\u003c/em>), Jacobs performed a live, improvised, dual projector tribute that is preserved today only in the memories of those lucky enough to see it.\u003c/p>\n\u003cfigure id=\"attachment_12665186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200.jpg\" alt=\"Still from 'The Wrenching Departures,' 1989.\" width=\"1200\" height=\"850\" class=\"size-full wp-image-12665186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-1180x836.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-960x680.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-520x368.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Wrenching Departures,’ 1989. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Jacobs sifted through the trove of moving images he made with and under the influence of his mentors in the late 1950s and early ‘60s, culling and editing sequences. His labors culminated in 2006 in \u003cem>Two Wrenching Departures\u003c/em>, a 90-minute film that captures Fleischner and Smith’s anarchic, gender-bending personalities along with the nascent underground rebellion sparked by the repression of the Eisenhower-Nixon years. The S.F. Cinematheque’s revival of \u003cem>Two Wrenching Departures\u003c/em> this Friday, Jan. 27 at \u003ca href=\"https://ybca.org/whats-on/sf-cinematheque-presents-ken-jacobs-two-wrenching-departures\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center For the Arts\u003c/a> is a treat, above all, for fans of Jack Smith, the radical queer artist who influenced San Francisco’s own Cockettes and, directly or by extension, everyone from Warhol to Jagger to Bowie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The octogenarian New York filmmaker Ken Jacobs is a genuine American treasure — an obsessive and impassioned chronicler of both his perpetually changing city and the free-associative, free-wheeling characters who embody our nation’s basic and endangered principles of expression and experimentation. In 1989, after the deaths a week apart of his close friends and artistic collaborators Bob Fleischner (who founded the \u003ca href=\"https://en.wikipedia.org/wiki/Collective_for_Living_Cinema\" target=\"_blank\" rel=\"noopener\">Collective for Living Cinema\u003c/a>) and Jack Smith (\u003cem>Flaming Creatures\u003c/em>), Jacobs performed a live, improvised, dual projector tribute that is preserved today only in the memories of those lucky enough to see it.\u003c/p>\n\u003cfigure id=\"attachment_12665186\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200.jpg\" alt=\"Still from 'The Wrenching Departures,' 1989.\" width=\"1200\" height=\"850\" class=\"size-full wp-image-12665186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-1180x836.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-960x680.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/JACK-LOWER-ON-STATUE1200-520x368.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Wrenching Departures,’ 1989. \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Jacobs sifted through the trove of moving images he made with and under the influence of his mentors in the late 1950s and early ‘60s, culling and editing sequences. His labors culminated in 2006 in \u003cem>Two Wrenching Departures\u003c/em>, a 90-minute film that captures Fleischner and Smith’s anarchic, gender-bending personalities along with the nascent underground rebellion sparked by the repression of the Eisenhower-Nixon years. The S.F. Cinematheque’s revival of \u003cem>Two Wrenching Departures\u003c/em> this Friday, Jan. 27 at \u003ca href=\"https://ybca.org/whats-on/sf-cinematheque-presents-ken-jacobs-two-wrenching-departures\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center For the Arts\u003c/a> is a treat, above all, for fans of Jack Smith, the radical queer artist who influenced San Francisco’s own Cockettes and, directly or by extension, everyone from Warhol to Jagger to Bowie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"pbs-viral-player-wrapper\" style=\"position: relative; padding-top: calc(56.25% + 43px);\"> \u003ciframe src=\"https://player.pbs.org/viralplayer/2365846753/\" allowfullscreen style=\"position: absolute; top: 0; width: 100%; height: 100%; border: 0;\">\u003c/iframe> \u003c/div>\n\u003cp>“My mission in life is not merely to survive, but to thrive; and to do so with some passion, some compassion, some humor, and some style. ” – Maya Angelou\u003c/p>\n\u003cp>Join KQED Arts for a celebration of Maya Angelou through spoken word, song and film. Enjoy performances by \u003ca href=\"https://www.facebook.com/123ygb/\" target=\"_blank\" rel=\"noopener\">Young Gifted and Black Sheros\u003c/a>, \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a> and local poets, artists and authors as they channel the spirit and legacy of Angelou.\u003c/p>\n\u003cp>Wednesday, Feb. 8, 2017\u003cbr>\n6:30pm – 8:30pm (doors open at 6:00pm)\u003cbr>\n\u003ca href=\"http://www.renaissancerialto.com/\" target=\"_blank\" rel=\"noopener\">Grand Lake Theatre\u003c/a>\u003cbr>\n3200 Grand Avenue\u003cbr>\nOakland, CA\u003c/p>\n\u003cp>FREE\u003c/p>\n\u003cp>**Registration Required: \u003ca href=\"http://andstillirisemaya.eventbrite.com\" target=\"_blank\" rel=\"noopener\">andstillirisemaya.eventbrite.com\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thank you to our community partners:\u003cbr>\n\u003ca href=\"http://oakland.impacthub.net/\" target=\"_blank\" rel=\"noopener\">Impact Hub Oakland\u003c/a>, \u003ca href=\"https://itvs.org/\" target=\"_blank\" rel=\"noopener\">ITVS\u003c/a>, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/\" target=\"_blank\" rel=\"noopener\">American Masters\u003c/a>, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/\" target=\"_blank\" rel=\"noopener\">Fist Up Film Festival\u003c/a>, \u003ca href=\"http://lajonesmedia.com/\" target=\"_blank\" rel=\"noopener\">La Jones & Associates\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>.\u003c/p>\n\n",
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"disqusTitle": "How 'The Little Mermaid' Predicted Britney Spears' Entire Life",
"title": "How 'The Little Mermaid' Predicted Britney Spears' Entire Life",
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"content": "\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/303456535&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>We all have our daily rituals. There's the universal: brushing teeth, going to work, eating avocado. And then there's the idiosyncratic. For me, a day does not pass without texting at least one friend about the latest charmingly odd thing that has popped up on \u003ca href=\"https://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\">Britney Spears' Instagram\u003c/a>.\u003c/p>\n\u003cp>Yesterday's text conversation was in honor of the following:\u003c/p>\n\u003cp>https://www.instagram.com/p/BLZOzQCgN5R/?taken-by=britneyspears\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To the unimaginative masses, who have lost all innocence and ability to recognize magic in the world, it's just a photo of a chess board. To Britney, it is a curiosity waiting to be explored, an invitation to transform.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most of Britney’s Instagram posts are dedicated to random curiosities, such as \u003c/span>\u003ca href=\"https://www.instagram.com/p/BLIEoclASu3/?taken-by=britneyspears\">miniature puppies sitting in heels in front of the Eiffel Tower\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKhZipwgHJi/?taken-by=britneyspears\">creepy children\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKZ3LewgwMC/?taken-by=britneyspears\">rainbow unicorn kittens\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGrwELtm8Eq/?taken-by=britneyspears\">body positive memes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGewwN9m8Iq/?taken-by=britneyspears\">mood illustrations featuring Sailor Moon\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGfdAKfm8KZ/?taken-by=britneyspears\">lazy kittens relaxing in hammocks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGKEYozm8AB/?taken-by=britneyspears\">reminders that's she Christian\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGCfmn-G8AC/?taken-by=britneyspears\">random, unattributed, but valid words of wisdom\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BFSwMQ3m8H4/?taken-by=britneyspears\">cats wearing backpacks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEkCgS7G8NA/?taken-by=britneyspears\">feminist North West jokes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEUkDY3m8Hy/?taken-by=britneyspears\">\u003cem>Sex and the City\u003c/em> screenshots\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BDojA4lm8FW/?taken-by=britneyspears\">throwbacks to when she and a gang-signing Leonardo Dicaprio hung out\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBlpJoRm8B2/?taken-by=britneyspears\">Albert Einstein fangirling\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBRanuEm8B9/?taken-by=britneyspears\">weirdly sexual lion art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BAvLa51m8HB/?taken-by=britneyspears\">lust for bearded models\u003c/a>,\u003ca href=\"https://www.instagram.com/p/_IrfByG8En/?taken-by=britneyspears\"> troubling watermarked art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">gratitude for hot bread\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">nods to all-denim relationships of yore\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Britney's Instagram feels like a cyber manifestation of Ariel’s cave of wonders and knick-knacks, so as a joke, I texted a friend: \"Britney is Ariel before she left home.” But the more I think about it, the similarities between Britney\u003c/span> and \u003cem>The Little Mermaid\u003c/em>’s protagonist are actually pretty uncanny.\u003c/p>\n\u003cp>Let us count the ways:\u003c/p>\n\u003cp>Both Ariel and Britney are known for their voices. In the first few minutes of \u003cem>The Little Mermaid\u003c/em>, an audience is wildly disappointed by Ariel's failure to show up to a gig.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41199\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png\" alt=\"Screen Shot 2016-10-10 at 5.28.04 PM\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1440x811.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1180x664.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-960x541.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Similarly, many leave Britney shows disappointed, due to her insistence on lip-syncing, another form of not showing up (don't @ me, Britney stans; I love her dearly, but facts are facts).\u003c/p>\n\u003cp>Almost everything Ariel does in \u003cem>The Little Mermaid\u003c/em> is in direct opposition to the limits her father places on her freedom of movement and expression. Similarly, the major theme in Britney's life has been fighting against an overprotective father and management team, a struggle that continues to this day and inspired this bop:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZYSiWHW8V0\u003c/p>\n\u003cp>Both Ariel and Britney have a habit of fawning over and seeing possibility in ordinary objects that bore everyone else.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png\" alt=\"Screen Shot 2016-10-10 at 5.12.59 PM\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-400x226.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-768x434.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1440x814.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1180x667.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-960x543.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM.png 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41198\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png\" alt=\"Screen Shot 2016-10-10 at 5.31.45 PM\" width=\"800\" height=\"448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Ariel and Britney are followed around by a protective, risk-averse family friend whose sole purpose is to remind them that all of their impulses will most likely lead to devastation. For Ariel, it’s Flounder. For Britney, it’s Felicia, whom y\u003c/span>\u003cspan style=\"font-weight: 400\">ou might remember as \u003c/span>\u003ca href=\"https://s-media-cache-ak0.pinimg.com/736x/83/da/0a/83da0a444c3fd2e95e70859781a3d11f.jpg\">\u003cspan style=\"font-weight: 400\">the teacher in the \"...Baby One More Time\" music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41214\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-800x400.jpg\" alt=\"felicia-flounder-britney-ariel\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Flounder and Felicia are both known to accidentally rat their girls out.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png\" alt=\"Screen Shot 2016-10-10 at 5.39.48 PM\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-960x509.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM.png 1195w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58282\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\" alt=\"eca23674b2c6d44da612b49bb9ded03d\" width=\"236\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d-160x207.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>Both Ariel and Britney are also followed around by a micromanager hired by their fathers to convince them that a controlled environment free of choice is better than the unknown of a life of their own choosing. For Ariel, it's Sebastian. For Britney, it's her current manager Larry Rudolph.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\">\u003cimg class=\"aligncenter wp-image-59440 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\" alt=\"Ariel---Sebastian-the-little-mermaid-45008_483_353\" width=\"483\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg 483w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-160x117.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-240x175.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-375x274.jpg 375w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-59439 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/brit_vma2.jpg\" alt=\"brit_vma2\" width=\"454\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2.jpg 454w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-375x289.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003c/p>\n\u003cp>When Ariel fails to show up to the show at the beginning of the movie, Sebastian says, \"This concert was to be the pinnacle of my distinguished career. Now thanks to you I am the laughingstock of the entire kingdom!\" Swap out \"entire kingdom\" for \"entire music industry\" and it's easily something that could come out of Larry Rudolph's mouth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every time Ariel and Britney sneak away from the pressures of being the princess of the sea and the princess of pop, they are hounded by sharks and the paparazzi, respectively.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\">\u003cimg class=\"aligncenter size-medium wp-image-41216\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\" alt=\"whoa-the-little-mermaid-32149733-500-303\" width=\"500\" height=\"303\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\">\u003cimg class=\"aligncenter size-full wp-image-41215\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\" alt=\"britney\" width=\"280\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>The first time Ariel sees Prince Eric, he's dancing and she's\u003cem> feeling\u003c/em> his moves.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\">\u003cimg class=\"aligncenter size-full wp-image-41218\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\" alt=\"EricReaction2\" width=\"422\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>The first time Britney laid eyes on future husband and baby daddy Kevin Federline, she was equally feeling it. Federline was a backup dancer for Michael Jackson, Destiny's Child, Pink, and none other than Justin Timberlake, Britney's ex. (Kevin is the one with the cornrows and sleeveless jacket.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\">\u003cimg class=\"aligncenter size-full wp-image-41217\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\" alt=\"kevin federline justin timberlake britney\" width=\"530\" height=\"356\">\u003c/a>\u003c/p>\n\u003cp>Triton didn't like Ariel's taste in men. And Britney's dad didn't like hers either. This convo between Ariel and Triton is something that probably happened in the Spears household:\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: Daddy, I love him!\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Have you lost your senses completely? He's a human (backup dancer), you're a mermaid (pop superstar)!\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: I don't care!\u003c/p>\n\u003cp>Both Ariel and Britney rebelled against their fathers' strict rules by hanging out with the wrong crowd. For Ariel, it was Ursula's henchmen, Flotsam and Jetsam. For Britney, it was Paris Hilton and Lindsay Lohan:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png\">\u003cimg class=\"aligncenter size-medium wp-image-41329\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png\" alt=\"ariel-flotsam-jetsam\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\">\u003cimg class=\"aligncenter size-full wp-image-41327\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\" alt=\"hqdefault\" width=\"480\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault-400x300.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003cp>Desperate to take control of their lives, both Ariel and Britney turned to a Svengali figure, who took advantage of them in their time of need. For Ariel, it was Ursula. For Britney, it was Sam Lutfi, a super shady dude who popped out of nowhere to enable her and try to make a buck off the situation by becoming her manager. He did something similar with Amanda Bynes and, as recently as last summer,\u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3663105/Britney-Spears-controversial-ex-manager-Sam-Lutfi-kidnapped-robbed-estranged-musician-husband-Frances-Bean-Cobain.html\"> allegedly kidnapped and robbed Frances Bean Cobain's husband\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41337\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg\" alt=\"efaa1290-cbe2-0132-9a8a-0e01949ad350\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41338\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\" alt=\"LuftiBritney\" width=\"620\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney.jpg 620w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney-400x240.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>As a consequence of Ursula's meddling, Ariel literally lost her voice. Britney lost hers in a more figurative sense. As a response to Britney running around with Sam and getting into trouble, Britney's dad and Larry Rudolph probably had a conversation similar to this one between Triton and Sebastian:\u003c/p>\n\u003cp>\u003cstrong>Sebastian:\u003c/strong> Why, if Ariel was my daughter, I'd show her who was boss. None of this flitting to the surface (da club) and other such nonsense. No, sir. I'd keep her under tight control.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You're absolutely right, Sebastian. Ariel needs constant supervision.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>Constant.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Someone to watch over her, to keep her out of trouble.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>All the time.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: And YOU are just the crab (manager) to do it.\u003c/p>\n\u003cp>This is where Britney's conservatorship comes in, a legally binding document, much like the one Ariel signed with Ursula, which robbed Britney of her voice in the sense that she could no longer make her own decisions in terms of her life, her business, what songs she recorded, and basically everything else.\u003c/p>\n\u003cp>Sebastian sings a whole song called \"Under the Sea,\" trying to convince Ariel that she should just stay home and not do anything her father wouldn't approve of. Change the title to \"Under the Conservatorship\" (or \"Under the C,\" for short) and you basically have the same thing.\u003c/p>\n\u003cp>Conservatorship Day 1:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-58268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s.gif\" alt=\"ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s\" width=\"690\" height=\"388\">\u003c/p>\n\u003cp>Ariel's big hit is \"Part of Your World,\" in which she laments that, despite a life of privilege and spoils, there's still a deep loneliness inside her:\u003c/p>\n\u003cblockquote>\u003cp>Look at this stuff\u003cbr>\nIsn't it neat?\u003cbr>\nWouldn't you think my collection's complete?\u003cbr>\nWouldn't you think I'm the girl\u003cbr>\nThe girl who has everything?\u003c/p>\u003c/blockquote>\n\u003cp>This idea of having it all but still being unhappy is also present throughout Britney Jean Spears' life, and infused in one of her most iconic songs, \"Lucky\":\u003c/p>\n\u003cblockquote>\u003cp>She's so lucky, she's a star\u003cbr>\nBut she cry, cry, cries in her lonely heart, thinking\u003cbr>\nIf there's nothing missing in my life\u003cbr>\nThen why do these tears come at night?\u003c/p>\u003c/blockquote>\n\u003cp>Here's another overlap. Ariel sings:\u003c/p>\n\u003cblockquote>\u003cp>I've got gadgets and gizmos aplenty\u003cbr>\nI've got whozits and whatzits galore\u003cbr>\n[You want thingamabobs? I got twenty]\u003cbr>\nBut who cares?\u003cbr>\nNo big deal\u003cbr>\nI want more\u003c/p>\u003c/blockquote>\n\u003cp>You know who else wants more? Britney!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=elueA2rofoo\u003c/p>\n\u003cp>\"Part of Your World\" could also be about Britney's desire to just be a regular person who can go to a Starbucks:\u003c/p>\n\u003cblockquote>\u003cp>I wanna be where the people are\u003cbr>\nI wanna see\u003cbr>\nWanna see 'em [sippin' grande lattes]\u003c/p>\u003c/blockquote>\n\u003cp>Or a beach:\u003c/p>\n\u003cblockquote>\u003cp>What would I give\u003cbr>\nIf I could live\u003cbr>\nOutta these waters?\u003cbr>\nWhat would I pay\u003cbr>\nTo spend a day\u003cbr>\nWarm on the sand?\u003c/p>\u003c/blockquote>\n\u003cp>Or anywhere else, without being hounded by paparazzi:\u003c/p>\n\u003cblockquote>\u003cp>Up where they walk\u003cbr>\nUp where they run\u003cbr>\nUp where they stay all day in the sun\u003cbr>\nWanderin' free\u003cbr>\nWish I could be\u003cbr>\nPart of that world\u003c/p>\u003c/blockquote>\n\u003cp>One of my favorite parts of \"Part of Your World\" is when Ariel gets super feminist:\u003c/p>\n\u003cblockquote>\u003cp>Betcha on land\u003cbr>\nThey understand\u003cbr>\nBet they don't reprimand their daughters\u003cbr>\nBright young women\u003cbr>\nSick o' swimmin'\u003cbr>\nReady to stand\u003c/p>\u003c/blockquote>\n\u003cp>Britney also has a song all about being ready to stand up and claim her agency:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dIOH8Trfas4\u003c/p>\n\u003cp>Eventually, after hitting rock bottom...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\">\u003cimg class=\"aligncenter size-full wp-image-58263\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\" alt=\"ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d\" width=\"690\" height=\"388\">\u003c/a>\u003c/p>\n\u003cp>...both women find their way to a more-or-less happy ending.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\">\u003cimg class=\"aligncenter size-full wp-image-58264\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\" alt=\"britney happy gif\" width=\"450\" height=\"331\">\u003c/a>\u003c/p>\n\u003cp>Triton and Britney's dad both realize that it might be a good idea to let their adult daughters be in charge of their own lives.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: Well, it's like I always say, Your Majesty. Children got to be free to lead their own lives.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You... always say that? \u003ci>[sighs]\u003c/i> Then I guess there's just one problem left.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: And what's that, Your Majesty?\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: How much I'm going to miss her.\u003c/p>\n\u003cp>Triton grants Ariel legs so she can live above sea level and marry Eric. And, last year, Britney was freed to get back to making her own decisions in terms of her music career. She was able to call all the shots and have complete control over her last album, \u003cem>Glory\u003c/em>, and it's her best album since the conservatorship was put in place.\u003c/p>\n\u003cp>These are just some of the reasons why I believe \u003cem>The Little Mermaid\u003c/em> predicted Britney's entire life. Not completely convinced yet? Here are a few last parallels:\u003c/p>\n\u003cp>Dogs love them:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\">\u003cimg class=\"aligncenter size-large wp-image-58270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\" alt=\"img_0994\" width=\"522\" height=\"313\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994.jpg 522w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-375x225.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-520x312.jpg 520w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\" alt=\"celebrities-kissing-dogs-11282011-26-675x538\" width=\"675\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg 675w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-240x191.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-375x299.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-520x414.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003c/a>\u003c/p>\n\u003cp>Both have been known to deeply feel themselves in a bad look:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png\">\u003cimg class=\"aligncenter size-medium wp-image-41194\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png\" alt=\"Screen Shot 2016-10-10 at 9.36.56 PM\" width=\"800\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1440x805.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1180x660.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-960x537.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png 1679w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58267\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\" alt=\"3d68d30837aed0ec6f9da730e30f7953\" width=\"236\" height=\"359\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953-160x243.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>And both have replicas that look nothing like them.\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41195\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png\" alt=\"Screen Shot 2016-10-10 at 6.37.27 PM\" width=\"800\" height=\"423\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-768x406.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-1180x624.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58266\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\" alt=\"photo\" width=\"768\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-520x693.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I rest my case.\u003c/p>\n\n",
"disqusIdentifier": "41144 http://ww2.kqed.org/pop/?p=41144",
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"excerpt": "A deep-dive into the uncanny parallels between the princess of the sea and the princess of pop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/303456535&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>We all have our daily rituals. There's the universal: brushing teeth, going to work, eating avocado. And then there's the idiosyncratic. For me, a day does not pass without texting at least one friend about the latest charmingly odd thing that has popped up on \u003ca href=\"https://ww2.kqed.org/pop/2016/03/09/the-redemptive-power-of-britney-spears-instagram/\">Britney Spears' Instagram\u003c/a>.\u003c/p>\n\u003cp>Yesterday's text conversation was in honor of the following:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To the unimaginative masses, who have lost all innocence and ability to recognize magic in the world, it's just a photo of a chess board. To Britney, it is a curiosity waiting to be explored, an invitation to transform.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most of Britney’s Instagram posts are dedicated to random curiosities, such as \u003c/span>\u003ca href=\"https://www.instagram.com/p/BLIEoclASu3/?taken-by=britneyspears\">miniature puppies sitting in heels in front of the Eiffel Tower\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKhZipwgHJi/?taken-by=britneyspears\">creepy children\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BKZ3LewgwMC/?taken-by=britneyspears\">rainbow unicorn kittens\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGrwELtm8Eq/?taken-by=britneyspears\">body positive memes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGewwN9m8Iq/?taken-by=britneyspears\">mood illustrations featuring Sailor Moon\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGfdAKfm8KZ/?taken-by=britneyspears\">lazy kittens relaxing in hammocks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGKEYozm8AB/?taken-by=britneyspears\">reminders that's she Christian\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BGCfmn-G8AC/?taken-by=britneyspears\">random, unattributed, but valid words of wisdom\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BFSwMQ3m8H4/?taken-by=britneyspears\">cats wearing backpacks\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEkCgS7G8NA/?taken-by=britneyspears\">feminist North West jokes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BEUkDY3m8Hy/?taken-by=britneyspears\">\u003cem>Sex and the City\u003c/em> screenshots\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BDojA4lm8FW/?taken-by=britneyspears\">throwbacks to when she and a gang-signing Leonardo Dicaprio hung out\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBlpJoRm8B2/?taken-by=britneyspears\">Albert Einstein fangirling\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BBRanuEm8B9/?taken-by=britneyspears\">weirdly sexual lion art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/BAvLa51m8HB/?taken-by=britneyspears\">lust for bearded models\u003c/a>,\u003ca href=\"https://www.instagram.com/p/_IrfByG8En/?taken-by=britneyspears\"> troubling watermarked art\u003c/a>, \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">gratitude for hot bread\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/-VtgC8m8PG/?taken-by=britneyspears\">nods to all-denim relationships of yore\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Britney's Instagram feels like a cyber manifestation of Ariel’s cave of wonders and knick-knacks, so as a joke, I texted a friend: \"Britney is Ariel before she left home.” But the more I think about it, the similarities between Britney\u003c/span> and \u003cem>The Little Mermaid\u003c/em>’s protagonist are actually pretty uncanny.\u003c/p>\n\u003cp>Let us count the ways:\u003c/p>\n\u003cp>Both Ariel and Britney are known for their voices. In the first few minutes of \u003cem>The Little Mermaid\u003c/em>, an audience is wildly disappointed by Ariel's failure to show up to a gig.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41199\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png\" alt=\"Screen Shot 2016-10-10 at 5.28.04 PM\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-800x450.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-400x225.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-768x432.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1440x811.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-1180x664.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM-960x541.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.28.04-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Similarly, many leave Britney shows disappointed, due to her insistence on lip-syncing, another form of not showing up (don't @ me, Britney stans; I love her dearly, but facts are facts).\u003c/p>\n\u003cp>Almost everything Ariel does in \u003cem>The Little Mermaid\u003c/em> is in direct opposition to the limits her father places on her freedom of movement and expression. Similarly, the major theme in Britney's life has been fighting against an overprotective father and management team, a struggle that continues to this day and inspired this bop:\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/PZYSiWHW8V0'\n title='//www.youtube.com/embed/PZYSiWHW8V0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Both Ariel and Britney have a habit of fawning over and seeing possibility in ordinary objects that bore everyone else.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png\" alt=\"Screen Shot 2016-10-10 at 5.12.59 PM\" width=\"800\" height=\"452\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-800x452.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-400x226.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-768x434.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1440x814.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-1180x667.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM-960x543.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.12.59-PM.png 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41198\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png\" alt=\"Screen Shot 2016-10-10 at 5.31.45 PM\" width=\"800\" height=\"448\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-800x448.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1440x807.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-1180x661.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM-960x538.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.31.45-PM.png 1680w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Ariel and Britney are followed around by a protective, risk-averse family friend whose sole purpose is to remind them that all of their impulses will most likely lead to devastation. For Ariel, it’s Flounder. For Britney, it’s Felicia, whom y\u003c/span>\u003cspan style=\"font-weight: 400\">ou might remember as \u003c/span>\u003ca href=\"https://s-media-cache-ak0.pinimg.com/736x/83/da/0a/83da0a444c3fd2e95e70859781a3d11f.jpg\">\u003cspan style=\"font-weight: 400\">the teacher in the \"...Baby One More Time\" music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41214\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-800x400.jpg\" alt=\"felicia-flounder-britney-ariel\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/felicia-flounder-britney-ariel-768x384.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Flounder and Felicia are both known to accidentally rat their girls out.\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-medium wp-image-41197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png\" alt=\"Screen Shot 2016-10-10 at 5.39.48 PM\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM-960x509.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-5.39.48-PM.png 1195w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58282\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg\" alt=\"eca23674b2c6d44da612b49bb9ded03d\" width=\"236\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/eca23674b2c6d44da612b49bb9ded03d-160x207.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>Both Ariel and Britney are also followed around by a micromanager hired by their fathers to convince them that a controlled environment free of choice is better than the unknown of a life of their own choosing. For Ariel, it's Sebastian. For Britney, it's her current manager Larry Rudolph.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\">\u003cimg class=\"aligncenter wp-image-59440 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg\" alt=\"Ariel---Sebastian-the-little-mermaid-45008_483_353\" width=\"483\" height=\"353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353.jpg 483w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-160x117.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-240x175.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Ariel-Sebastian-the-little-mermaid-45008_483_353-375x274.jpg 375w\" sizes=\"(max-width: 483px) 100vw, 483px\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-59439 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/brit_vma2.jpg\" alt=\"brit_vma2\" width=\"454\" height=\"350\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2.jpg 454w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-160x123.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-240x185.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/brit_vma2-375x289.jpg 375w\" sizes=\"(max-width: 454px) 100vw, 454px\">\u003c/p>\n\u003cp>When Ariel fails to show up to the show at the beginning of the movie, Sebastian says, \"This concert was to be the pinnacle of my distinguished career. Now thanks to you I am the laughingstock of the entire kingdom!\" Swap out \"entire kingdom\" for \"entire music industry\" and it's easily something that could come out of Larry Rudolph's mouth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Every time Ariel and Britney sneak away from the pressures of being the princess of the sea and the princess of pop, they are hounded by sharks and the paparazzi, respectively.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\">\u003cimg class=\"aligncenter size-medium wp-image-41216\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/whoa-the-little-mermaid-32149733-500-303.gif\" alt=\"whoa-the-little-mermaid-32149733-500-303\" width=\"500\" height=\"303\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\">\u003cimg class=\"aligncenter size-full wp-image-41215\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/britney.gif\" alt=\"britney\" width=\"280\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>The first time Ariel sees Prince Eric, he's dancing and she's\u003cem> feeling\u003c/em> his moves.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\">\u003cimg class=\"aligncenter size-full wp-image-41218\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/EricReaction2.gif\" alt=\"EricReaction2\" width=\"422\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>The first time Britney laid eyes on future husband and baby daddy Kevin Federline, she was equally feeling it. Federline was a backup dancer for Michael Jackson, Destiny's Child, Pink, and none other than Justin Timberlake, Britney's ex. (Kevin is the one with the cornrows and sleeveless jacket.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\">\u003cimg class=\"aligncenter size-full wp-image-41217\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/anigif_enhanced-23574-1398543782-3.gif\" alt=\"kevin federline justin timberlake britney\" width=\"530\" height=\"356\">\u003c/a>\u003c/p>\n\u003cp>Triton didn't like Ariel's taste in men. And Britney's dad didn't like hers either. This convo between Ariel and Triton is something that probably happened in the Spears household:\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: Daddy, I love him!\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Have you lost your senses completely? He's a human (backup dancer), you're a mermaid (pop superstar)!\u003c/p>\n\u003cp>\u003cb>Ariel\u003c/b>: I don't care!\u003c/p>\n\u003cp>Both Ariel and Britney rebelled against their fathers' strict rules by hanging out with the wrong crowd. For Ariel, it was Ursula's henchmen, Flotsam and Jetsam. For Britney, it was Paris Hilton and Lindsay Lohan:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png\">\u003cimg class=\"aligncenter size-medium wp-image-41329\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png\" alt=\"ariel-flotsam-jetsam\" width=\"800\" height=\"424\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-800x424.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-768x407.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-1180x625.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/ariel-flotsam-jetsam.png 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\">\u003cimg class=\"aligncenter size-full wp-image-41327\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/hqdefault.jpg\" alt=\"hqdefault\" width=\"480\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/hqdefault-400x300.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003cp>Desperate to take control of their lives, both Ariel and Britney turned to a Svengali figure, who took advantage of them in their time of need. For Ariel, it was Ursula. For Britney, it was Sam Lutfi, a super shady dude who popped out of nowhere to enable her and try to make a buck off the situation by becoming her manager. He did something similar with Amanda Bynes and, as recently as last summer,\u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-3663105/Britney-Spears-controversial-ex-manager-Sam-Lutfi-kidnapped-robbed-estranged-musician-husband-Frances-Bean-Cobain.html\"> allegedly kidnapped and robbed Frances Bean Cobain's husband\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41337\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg\" alt=\"efaa1290-cbe2-0132-9a8a-0e01949ad350\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/efaa1290-cbe2-0132-9a8a-0e01949ad350.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-41338\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/LuftiBritney.jpg\" alt=\"LuftiBritney\" width=\"620\" height=\"372\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney.jpg 620w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/LuftiBritney-400x240.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/a>\u003c/p>\n\u003cp>As a consequence of Ursula's meddling, Ariel literally lost her voice. Britney lost hers in a more figurative sense. As a response to Britney running around with Sam and getting into trouble, Britney's dad and Larry Rudolph probably had a conversation similar to this one between Triton and Sebastian:\u003c/p>\n\u003cp>\u003cstrong>Sebastian:\u003c/strong> Why, if Ariel was my daughter, I'd show her who was boss. None of this flitting to the surface (da club) and other such nonsense. No, sir. I'd keep her under tight control.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You're absolutely right, Sebastian. Ariel needs constant supervision.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>Constant.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: Someone to watch over her, to keep her out of trouble.\u003c/p>\n\u003cp>\u003cstrong>Sebastian: \u003c/strong>All the time.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: And YOU are just the crab (manager) to do it.\u003c/p>\n\u003cp>This is where Britney's conservatorship comes in, a legally binding document, much like the one Ariel signed with Ursula, which robbed Britney of her voice in the sense that she could no longer make her own decisions in terms of her life, her business, what songs she recorded, and basically everything else.\u003c/p>\n\u003cp>Sebastian sings a whole song called \"Under the Sea,\" trying to convince Ariel that she should just stay home and not do anything her father wouldn't approve of. Change the title to \"Under the Conservatorship\" (or \"Under the C,\" for short) and you basically have the same thing.\u003c/p>\n\u003cp>Conservatorship Day 1:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-58268\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s.gif\" alt=\"ariel_sees_triton_and_is_scared_by_arielfan90-d9kic5s\" width=\"690\" height=\"388\">\u003c/p>\n\u003cp>Ariel's big hit is \"Part of Your World,\" in which she laments that, despite a life of privilege and spoils, there's still a deep loneliness inside her:\u003c/p>\n\u003cblockquote>\u003cp>Look at this stuff\u003cbr>\nIsn't it neat?\u003cbr>\nWouldn't you think my collection's complete?\u003cbr>\nWouldn't you think I'm the girl\u003cbr>\nThe girl who has everything?\u003c/p>\u003c/blockquote>\n\u003cp>This idea of having it all but still being unhappy is also present throughout Britney Jean Spears' life, and infused in one of her most iconic songs, \"Lucky\":\u003c/p>\n\u003cblockquote>\u003cp>She's so lucky, she's a star\u003cbr>\nBut she cry, cry, cries in her lonely heart, thinking\u003cbr>\nIf there's nothing missing in my life\u003cbr>\nThen why do these tears come at night?\u003c/p>\u003c/blockquote>\n\u003cp>Here's another overlap. Ariel sings:\u003c/p>\n\u003cblockquote>\u003cp>I've got gadgets and gizmos aplenty\u003cbr>\nI've got whozits and whatzits galore\u003cbr>\n[You want thingamabobs? I got twenty]\u003cbr>\nBut who cares?\u003cbr>\nNo big deal\u003cbr>\nI want more\u003c/p>\u003c/blockquote>\n\u003cp>You know who else wants more? Britney!\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/elueA2rofoo'\n title='//www.youtube.com/embed/elueA2rofoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Part of Your World\" could also be about Britney's desire to just be a regular person who can go to a Starbucks:\u003c/p>\n\u003cblockquote>\u003cp>I wanna be where the people are\u003cbr>\nI wanna see\u003cbr>\nWanna see 'em [sippin' grande lattes]\u003c/p>\u003c/blockquote>\n\u003cp>Or a beach:\u003c/p>\n\u003cblockquote>\u003cp>What would I give\u003cbr>\nIf I could live\u003cbr>\nOutta these waters?\u003cbr>\nWhat would I pay\u003cbr>\nTo spend a day\u003cbr>\nWarm on the sand?\u003c/p>\u003c/blockquote>\n\u003cp>Or anywhere else, without being hounded by paparazzi:\u003c/p>\n\u003cblockquote>\u003cp>Up where they walk\u003cbr>\nUp where they run\u003cbr>\nUp where they stay all day in the sun\u003cbr>\nWanderin' free\u003cbr>\nWish I could be\u003cbr>\nPart of that world\u003c/p>\u003c/blockquote>\n\u003cp>One of my favorite parts of \"Part of Your World\" is when Ariel gets super feminist:\u003c/p>\n\u003cblockquote>\u003cp>Betcha on land\u003cbr>\nThey understand\u003cbr>\nBet they don't reprimand their daughters\u003cbr>\nBright young women\u003cbr>\nSick o' swimmin'\u003cbr>\nReady to stand\u003c/p>\u003c/blockquote>\n\u003cp>Britney also has a song all about being ready to stand up and claim her agency:\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/dIOH8Trfas4'\n title='//www.youtube.com/embed/dIOH8Trfas4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eventually, after hitting rock bottom...\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\">\u003cimg class=\"aligncenter size-full wp-image-58263\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d.gif\" alt=\"ariel_so_far_down_in_the_whirlpool_by_arielfan90-d99q31d\" width=\"690\" height=\"388\">\u003c/a>\u003c/p>\n\u003cp>...both women find their way to a more-or-less happy ending.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\">\u003cimg class=\"aligncenter size-full wp-image-58264\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\" alt=\"britney happy gif\" width=\"450\" height=\"331\">\u003c/a>\u003c/p>\n\u003cp>Triton and Britney's dad both realize that it might be a good idea to let their adult daughters be in charge of their own lives.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: Well, it's like I always say, Your Majesty. Children got to be free to lead their own lives.\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: You... always say that? \u003ci>[sighs]\u003c/i> Then I guess there's just one problem left.\u003c/p>\n\u003cp>\u003cb>Sebastian\u003c/b>: And what's that, Your Majesty?\u003c/p>\n\u003cp>\u003cb>Triton\u003c/b>: How much I'm going to miss her.\u003c/p>\n\u003cp>Triton grants Ariel legs so she can live above sea level and marry Eric. And, last year, Britney was freed to get back to making her own decisions in terms of her music career. She was able to call all the shots and have complete control over her last album, \u003cem>Glory\u003c/em>, and it's her best album since the conservatorship was put in place.\u003c/p>\n\u003cp>These are just some of the reasons why I believe \u003cem>The Little Mermaid\u003c/em> predicted Britney's entire life. Not completely convinced yet? Here are a few last parallels:\u003c/p>\n\u003cp>Dogs love them:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\">\u003cimg class=\"aligncenter size-large wp-image-58270\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/img_0994.jpg\" alt=\"img_0994\" width=\"522\" height=\"313\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994.jpg 522w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-240x144.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-375x225.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/img_0994-520x312.jpg 520w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58269\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg\" alt=\"celebrities-kissing-dogs-11282011-26-675x538\" width=\"675\" height=\"538\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538.jpg 675w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-240x191.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-375x299.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/celebrities-kissing-dogs-11282011-26-675x538-520x414.jpg 520w\" sizes=\"(max-width: 675px) 100vw, 675px\">\u003c/a>\u003c/p>\n\u003cp>Both have been known to deeply feel themselves in a bad look:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png\">\u003cimg class=\"aligncenter size-medium wp-image-41194\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png\" alt=\"Screen Shot 2016-10-10 at 9.36.56 PM\" width=\"800\" height=\"447\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-800x447.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-400x224.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-768x430.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1440x805.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-1180x660.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM-960x537.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-9.36.56-PM.png 1679w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58267\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg\" alt=\"3d68d30837aed0ec6f9da730e30f7953\" width=\"236\" height=\"359\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953.jpg 236w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/3d68d30837aed0ec6f9da730e30f7953-160x243.jpg 160w\" sizes=\"(max-width: 236px) 100vw, 236px\">\u003c/a>\u003c/p>\n\u003cp>And both have replicas that look nothing like them.\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png\">\u003cimg class=\"alignright size-medium wp-image-41195\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png\" alt=\"Screen Shot 2016-10-10 at 6.37.27 PM\" width=\"800\" height=\"423\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-800x423.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-400x212.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-768x406.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-1180x624.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM-960x508.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/10/Screen-Shot-2016-10-10-at-6.37.27-PM.png 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\">\u003cimg class=\"aligncenter size-full wp-image-58266\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/photo.jpg\" alt=\"photo\" width=\"768\" height=\"1024\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-160x213.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-240x320.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-375x500.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/photo-520x693.jpg 520w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I rest my case.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Britney Spears and Ariel Are Basically the Same Person",
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"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Did \u003cem>The Little Mermaid\u003c/em> predict Ms. Spears' entire life? Does cursing make you more trustworthy? Find out!\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/01/Britariel.mp3\" title=\"Why Britney Spears and Ariel Are Basically the Same Person\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>We start things off with a theory that everything that's happened to Britney Spears happened to Ariel first:\u003c/p>\n\u003cblockquote class=\"embedly-card\">\n\u003ch4>\u003ca href=\"https://ww2.kqed.org/pop/2017/01/19/how-the-little-mermaid-predicted-britney-spears-entire-life/\">How ‘The Little Mermaid’ Predicted Britney Spears’ Entire Life\u003c/a>\u003c/h4>\n\u003cp>A deep-dive into the uncanny parallels between the princess of the sea and the princess of pop.\u003c/p>\u003c/blockquote>\n\u003cp>[embedly_js]\u003c/p>\n\u003cp>We discuss a new study that claims that people who swear are more worthy of trust:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\">\u003cimg class=\"aligncenter size-full wp-image-59495\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\" alt=\"adele swear\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We share our favorite pop culture cursing moments:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l1dnqKGuezo\u003c/p>\n\u003cp>And we ride out on \"Stand Back\" by Stevie Nicks (because why not):\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bwdDVZsz2es\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"excerpt": "Did 'The Little Mermaid' predict Ms. Spears' entire life? Does cursing make you more trustworthy? Find out! ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Did \u003cem>The Little Mermaid\u003c/em> predict Ms. Spears' entire life? Does cursing make you more trustworthy? Find out!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>We start things off with a theory that everything that's happened to Britney Spears happened to Ariel first:\u003c/p>\n\u003cblockquote class=\"embedly-card\">\n\u003ch4>\u003ca href=\"https://ww2.kqed.org/pop/2017/01/19/how-the-little-mermaid-predicted-britney-spears-entire-life/\">How ‘The Little Mermaid’ Predicted Britney Spears’ Entire Life\u003c/a>\u003c/h4>\n\u003cp>A deep-dive into the uncanny parallels between the princess of the sea and the princess of pop.\u003c/p>\u003c/blockquote>\n\u003cp>[embedly_js]\u003c/p>\n\u003cp>We discuss a new study that claims that people who swear are more worthy of trust:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\">\u003cimg class=\"aligncenter size-full wp-image-59495\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/adele-swear.gif\" alt=\"adele swear\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>We share our favorite pop culture cursing moments:\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/l1dnqKGuezo'\n title='//www.youtube.com/embed/l1dnqKGuezo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And we ride out on \"Stand Back\" by Stevie Nicks (because why not):\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/bwdDVZsz2es'\n title='//www.youtube.com/embed/bwdDVZsz2es'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Toni Erdmann': A Practical-Joking Dad And His Too-Practical Daughter",
"headTitle": "‘Toni Erdmann’: A Practical-Joking Dad And His Too-Practical Daughter | KQED",
"content": "\u003cp>A Dad Joke is a funny thing. Well, not funny, exactly — that’s the one thing a Dad Joke never is. Whether a dumb pun, a goofy accent, or a silly riff on a troubling event, this peculiar brand of attempted humor is passed on from a father to his offspring like family silverware. It exists to remind us that dads have a sacred duty to be silly and strange for their children’s sake, to create a little shared universe of forced laughter and groans where both generations can retreat from the cold.\u003c/p>\n\u003cp>The remarkable new German-Austrian comedy \u003cem>Toni Erdmann\u003c/em> is the \u003cem>Citizen Kane\u003c/em> of Dad Jokes. Writer-director Maren Ade liberates these laffy-taffies into the world of high art. She builds her story around a father who will go to absurd, inscrutable lengths for a laugh, even though he rarely ever gets one. He makes liberal use of props, among them whoopee cushions, cheese graters, handcuffs, shaggy wigs, and one immortal set of giant false teeth, which he keeps in his shirt pocket and pops into his mouth at the slightest moment of tension. He will gladly wait half a day to spring a two-second “gotcha” gag. And over the film’s nearly three-hour running time, he does battle with the humorless corporate world that has swallowed his daughter whole and is threatening to come for us all.\u003c/p>\n\u003cp>https://youtu.be/j0uwi5EPnpA\u003c/p>\n\u003cp>At the outset, it certainly seems like corporate is winning. When we first meet Winfried (Peter Simonischek), a retired music teacher, he lives alone with a pacemaker and a sickly dog, crafting elaborate fictions for a package courier just to amuse himself. He once was close with his daughter, Ines (Sandra Hüller), but she’s all grown up and distant now, working for a consulting firm whose job is to tell companies they should lay off workers to save money. Ines does well, but she’s miserable: constantly undermined by her male superiors, she resorts to drugs and empty sex to amuse herself, and disappears into her work so she doesn’t have to think about how far she’s drifted from her own soul.\u003c/p>\n\u003cp>Once his dog dies, Winfried makes a spontaneous visit to Ines’s office in Bucharest, prattling on about the importance of fun and happiness in life. The weekend soon turns toxic, overtaken by Ines’s work functions and her seeming inability to recall anything that makes her happy. “I know men your age with ambitions,” she seethes at him. A saddened poppa takes his leave… but then out comes the wig and false teeth, and voilà, “Toni Erdmann” is showing up at her office and social gatherings with a different kind of ambition: to wreak havoc.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Toni is not here for your empty pleasantries. This “business consultant and life coach” barrels into rooms with the force of an ox, will ramble on for 30 minutes about turtles, and, perhaps because he is a man with absurd confidence, he’ll be taken seriously every step of the way. Before Ines can blink, she finds herself playing along with Toni’s games, roping him into elaborate business plans and dragging the pair to one-up each other with each new absurdity, be it a spontaneous burst of song or the most scandalous birthday brunch of all time.\u003c/p>\n\u003cfigure id=\"attachment_12640683\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni2.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup plays like a descendant of American comedies — think \u003cem>Mrs. Doubtfire\u003c/em> crossed with the anarchic spirit of Andy Kaufman (whom Ade has credited as an influence). But the execution is far more emotionally textured, an example of an offspring learning the right lessons from its parents. The first time you watch \u003cem>Toni Erdmann\u003c/em>, you see the film from Ines’s eyes: at first befuddled and angered by her dad’s bizarre behavior, until she realizes it may be lifting her out of the darkness. (When she’s forced to drag Toni to her client’s oil field, she uses him as business leverage.) If you’re ever fortunate enough to watch the film a second time, you’ll see it equally as Winfried’s story: a final, desperate act of love, with an undercurrent of selfishness and sabotage. And no matter which way you read it, the whoopee cushion will still be funny, obviously.\u003c/p>\n\u003cp>If this were merely “uptight young woman learns to loosen up,” \u003cem>Toni Erdmann\u003c/em> wouldn’t feel so revolutionary. But the film takes its corporate setting seriously, and wields a savage critique of modern globalization culture and the way we sacrifice our shared humanity to survive in it. Sly, devastating shots reveal that Romania’s business class has built itself on the backs of the poor. Searching for advice on how to get ahead at work, Ines is told to stop listening to other people. She’s forced to leverage every social gathering for transactional benefit, while her client — a prosperous American oil CEO looking to “cut costs” — belittles her in public to avoid admitting he has to take her advice. In the face of such direct exposure to how the world really works, Toni’s version of reality offers an escape hatch. Wouldn’t it be nice, for once, to throw away ambitions and live inside a joke?\u003c/p>\n\u003cfigure id=\"attachment_12640682\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni1.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her third film, Ade could not have constructed her story any finer. Every beat is calibrated, not only for the punchlines but also the long, awkward pauses that absorb Toni’s extraterrestrial weirdness into the earth. But Ade’s work would be for nothing without her two dueling leads. Simonischek is the showier role, always putting on two or three layers of performance: as the blustery Toni he often stumbles while improvising his web of lies, and is quick to backtrack with the constant refrain, “It’s just a joke.” Hüller, meanwhile, is a portrait of slow-burning tragedy, and her bitterness comes with a specific exhaustion at a lifetime being the butt of other people’s jokes. There is one devastating scene in a club where Ines, slumped into a couch riding a line of cocaine, is essentially daring her father to look away from her lifestyle, even as she calls out subconsciously to him for help.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Toni Erdmann\u003c/em> is silly yet profoundly moving, a movie that speaks to the human disconnect of our time. We are born into our parents, not our jobs, and yet in adulthood we essentially choose a new set of life lessons over the ones they instilled in us. Can the power of the Dad Joke help us rediscover our old, shared universe in time? “Don’t lose the humor,” Toni solemnly instructs at one point, to a Romanian stranger who doesn’t speak his language. It’s one of the only moments when he’s completely serious.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Dad Joke is a funny thing. Well, not funny, exactly — that’s the one thing a Dad Joke never is. Whether a dumb pun, a goofy accent, or a silly riff on a troubling event, this peculiar brand of attempted humor is passed on from a father to his offspring like family silverware. It exists to remind us that dads have a sacred duty to be silly and strange for their children’s sake, to create a little shared universe of forced laughter and groans where both generations can retreat from the cold.\u003c/p>\n\u003cp>The remarkable new German-Austrian comedy \u003cem>Toni Erdmann\u003c/em> is the \u003cem>Citizen Kane\u003c/em> of Dad Jokes. Writer-director Maren Ade liberates these laffy-taffies into the world of high art. She builds her story around a father who will go to absurd, inscrutable lengths for a laugh, even though he rarely ever gets one. He makes liberal use of props, among them whoopee cushions, cheese graters, handcuffs, shaggy wigs, and one immortal set of giant false teeth, which he keeps in his shirt pocket and pops into his mouth at the slightest moment of tension. He will gladly wait half a day to spring a two-second “gotcha” gag. And over the film’s nearly three-hour running time, he does battle with the humorless corporate world that has swallowed his daughter whole and is threatening to come for us all.\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/j0uwi5EPnpA'\n title='//www.youtube.com/embed/j0uwi5EPnpA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the outset, it certainly seems like corporate is winning. When we first meet Winfried (Peter Simonischek), a retired music teacher, he lives alone with a pacemaker and a sickly dog, crafting elaborate fictions for a package courier just to amuse himself. He once was close with his daughter, Ines (Sandra Hüller), but she’s all grown up and distant now, working for a consulting firm whose job is to tell companies they should lay off workers to save money. Ines does well, but she’s miserable: constantly undermined by her male superiors, she resorts to drugs and empty sex to amuse herself, and disappears into her work so she doesn’t have to think about how far she’s drifted from her own soul.\u003c/p>\n\u003cp>Once his dog dies, Winfried makes a spontaneous visit to Ines’s office in Bucharest, prattling on about the importance of fun and happiness in life. The weekend soon turns toxic, overtaken by Ines’s work functions and her seeming inability to recall anything that makes her happy. “I know men your age with ambitions,” she seethes at him. A saddened poppa takes his leave… but then out comes the wig and false teeth, and voilà, “Toni Erdmann” is showing up at her office and social gatherings with a different kind of ambition: to wreak havoc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Toni is not here for your empty pleasantries. This “business consultant and life coach” barrels into rooms with the force of an ox, will ramble on for 30 minutes about turtles, and, perhaps because he is a man with absurd confidence, he’ll be taken seriously every step of the way. Before Ines can blink, she finds herself playing along with Toni’s games, roping him into elaborate business plans and dragging the pair to one-up each other with each new absurdity, be it a spontaneous burst of song or the most scandalous birthday brunch of all time.\u003c/p>\n\u003cfigure id=\"attachment_12640683\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni2.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni2-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup plays like a descendant of American comedies — think \u003cem>Mrs. Doubtfire\u003c/em> crossed with the anarchic spirit of Andy Kaufman (whom Ade has credited as an influence). But the execution is far more emotionally textured, an example of an offspring learning the right lessons from its parents. The first time you watch \u003cem>Toni Erdmann\u003c/em>, you see the film from Ines’s eyes: at first befuddled and angered by her dad’s bizarre behavior, until she realizes it may be lifting her out of the darkness. (When she’s forced to drag Toni to her client’s oil field, she uses him as business leverage.) If you’re ever fortunate enough to watch the film a second time, you’ll see it equally as Winfried’s story: a final, desperate act of love, with an undercurrent of selfishness and sabotage. And no matter which way you read it, the whoopee cushion will still be funny, obviously.\u003c/p>\n\u003cp>If this were merely “uptight young woman learns to loosen up,” \u003cem>Toni Erdmann\u003c/em> wouldn’t feel so revolutionary. But the film takes its corporate setting seriously, and wields a savage critique of modern globalization culture and the way we sacrifice our shared humanity to survive in it. Sly, devastating shots reveal that Romania’s business class has built itself on the backs of the poor. Searching for advice on how to get ahead at work, Ines is told to stop listening to other people. She’s forced to leverage every social gathering for transactional benefit, while her client — a prosperous American oil CEO looking to “cut costs” — belittles her in public to avoid admitting he has to take her advice. In the face of such direct exposure to how the world really works, Toni’s version of reality offers an escape hatch. Wouldn’t it be nice, for once, to throw away ambitions and live inside a joke?\u003c/p>\n\u003cfigure id=\"attachment_12640682\" class=\"wp-caption aligncenter\" style=\"max-width: 842px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/toni1.jpg\" alt=\"Still from 'Toni Erdmann.'\" width=\"842\" height=\"455\" class=\"size-full wp-image-12640682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1.jpg 842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/toni1-520x281.jpg 520w\" sizes=\"(max-width: 842px) 100vw, 842px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Toni Erdmann.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her third film, Ade could not have constructed her story any finer. Every beat is calibrated, not only for the punchlines but also the long, awkward pauses that absorb Toni’s extraterrestrial weirdness into the earth. But Ade’s work would be for nothing without her two dueling leads. Simonischek is the showier role, always putting on two or three layers of performance: as the blustery Toni he often stumbles while improvising his web of lies, and is quick to backtrack with the constant refrain, “It’s just a joke.” Hüller, meanwhile, is a portrait of slow-burning tragedy, and her bitterness comes with a specific exhaustion at a lifetime being the butt of other people’s jokes. There is one devastating scene in a club where Ines, slumped into a couch riding a line of cocaine, is essentially daring her father to look away from her lifestyle, even as she calls out subconsciously to him for help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Toni Erdmann\u003c/em> is silly yet profoundly moving, a movie that speaks to the human disconnect of our time. We are born into our parents, not our jobs, and yet in adulthood we essentially choose a new set of life lessons over the ones they instilled in us. Can the power of the Dad Joke help us rediscover our old, shared universe in time? “Don’t lose the humor,” Toni solemnly instructs at one point, to a Romanian stranger who doesn’t speak his language. It’s one of the only moments when he’s completely serious.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Scene of the Crime's the Thing at Noir City",
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"content": "\u003cp>You gotta stay one step ahead of the cops—I mean the audience—if you’re the all-hours, whiskey-snorting, snappy-patter proprietor of \u003ca href=\"http://www.noircity.com\" target=\"_blank\" rel=\"noopener\">Noir City\u003c/a>. After 15 years of tunneling through the bleakest, bitterest parables of corruption and cynicism that slinked out of Hollywood’s glam studios and the Poverty Row exploitation mills in the 1940s and ’50s, Eddie Muller needed a fresh angle on the whole “crime doesn’t pay . . . if you’re not already powerful and rich” ethos that undergirds film noir.\u003c/p>\n\u003cp>So Muller’s gone all in on the heist film, redrawing Noir City’s borders beyond American film and even venturing into the 21st century to program “The Big Knockover” (Jan. 20–29 at the Castro). Sure, you can ride along yet again with your favorite bands of doomed outsiders in \u003cem>The Asphalt Jungle\u003c/em>, \u003cem>Kansas City Confidential\u003c/em> and \u003cem>The Killing\u003c/em>. Better yet, revisit or discover next-generation classics like the original \u003cem>The Taking of Pelham 123\u003c/em>, \u003cem>Blue Collar\u003c/em>, \u003cem>The Brink’s Job\u003c/em> and Sidney Lumet’s last masterpiece, \u003cem>Before the Devil Knows You’re Dead.\u003c/em>\u003c/p>\n\u003cp>While you’re at it, sample some of the top-shelf noir Muller boosted from Italy, France, the U.K., Japan, Germany and Argentina. How’s that Dylan song go? “Steal a little and they throw you in jail / Steal a lot and they make you king.” The house band at Noir City does a first-rate version — even if you ask for it by its street name, “Inauguration Blues.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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\u003cp>\u003cem>‘Noir City’ runs Jan. 20–29 at the Castro Theatre. For complete program of films (with a surprising number of color titles this year), see \u003ca href=\"http://www.noircity.com/nc15p1.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You gotta stay one step ahead of the cops—I mean the audience—if you’re the all-hours, whiskey-snorting, snappy-patter proprietor of \u003ca href=\"http://www.noircity.com\" target=\"_blank\" rel=\"noopener\">Noir City\u003c/a>. After 15 years of tunneling through the bleakest, bitterest parables of corruption and cynicism that slinked out of Hollywood’s glam studios and the Poverty Row exploitation mills in the 1940s and ’50s, Eddie Muller needed a fresh angle on the whole “crime doesn’t pay . . . if you’re not already powerful and rich” ethos that undergirds film noir.\u003c/p>\n\u003cp>So Muller’s gone all in on the heist film, redrawing Noir City’s borders beyond American film and even venturing into the 21st century to program “The Big Knockover” (Jan. 20–29 at the Castro). Sure, you can ride along yet again with your favorite bands of doomed outsiders in \u003cem>The Asphalt Jungle\u003c/em>, \u003cem>Kansas City Confidential\u003c/em> and \u003cem>The Killing\u003c/em>. Better yet, revisit or discover next-generation classics like the original \u003cem>The Taking of Pelham 123\u003c/em>, \u003cem>Blue Collar\u003c/em>, \u003cem>The Brink’s Job\u003c/em> and Sidney Lumet’s last masterpiece, \u003cem>Before the Devil Knows You’re Dead.\u003c/em>\u003c/p>\n\u003cp>While you’re at it, sample some of the top-shelf noir Muller boosted from Italy, France, the U.K., Japan, Germany and Argentina. How’s that Dylan song go? “Steal a little and they throw you in jail / Steal a lot and they make you king.” The house band at Noir City does a first-rate version — even if you ask for it by its street name, “Inauguration Blues.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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\u003cp>\u003cem>‘Noir City’ runs Jan. 20–29 at the Castro Theatre. For complete program of films (with a surprising number of color titles this year), see \u003ca href=\"http://www.noircity.com/nc15p1.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Q&A: Mike Mills on Remaking Memories in ‘20th Century Women’",
"headTitle": "Q&A: Mike Mills on Remaking Memories in ‘20th Century Women’ | KQED",
"content": "\u003cp>As a filmmaker, Mike Mills has mastered the art of speaking in his late parents’ voices, lamenting the dead as a cross-generational ventriloquist. In the 2010 film \u003ci>Beginners\u003c/i>, he fictionalized his closeted gay father’s coming out story as an elegy to his life. With \u003ca href=\"http://20thcenturywomen-movie.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>20th Century Women\u003c/i>\u003c/a>, opening in San Francisco Jan. 13, the director tells a story that’s largely from his mother’s more determined point of view.\u003c/p>\n\u003cp>Mills fictionalizes a brief moment in 1979 when his relationship with his mother shifted along with the cultural currents of that era. When teenager Jamie (Lucas Jade Zumann) tries to connect with his single mother Dorothea (Annette Bening), he reads an excerpt from \u003ci>Sisterhood is Powerful: An Anthology of Writings From The Women’s Liberation Movement\u003c/i>.\u003c/p>\n\u003cp>\u003ci>20th Century Women\u003c/i> examines those longed-for moments of connection between parents and children that often remain elusive. Mills captures that sense of emotional transience in his latest film, which we discussed in a San Francisco hotel a few weeks before it opened locally.\u003c/p>\n\u003cp>\u003cb>KQED Arts: Your opening shot of the Pacific Ocean is from above. Why start the narrative there?\u003c/b>\u003c/p>\n\u003cp>Mike Mills: It was a very odd image, dislocating. As soon as I saw it, I intuitively thought, “Let’s start the movie with that.” It’s like a field, but there’s something about the West as a frontier to me. It’s the border to the ocean, a liminal place where the edge of it is almost like Manifest Destiny, the edge of American progress. That always fit 1979 to me because I felt it’s the beginning of the end of American strength. It was some combination of all those things wrapped into that shot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Why did you want to make a movie about a mother and son after \u003ci>Beginners\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>“How can I write a story about being raised by women?” That was the beginning of it all for me. I’m so interwoven with my mom. It’s very much what it felt like in my house because I had my mom and my two sisters, and they’re the ones that raised me, they’re the ones who did everything.\u003c/p>\n\u003cp>There was this idea from my mom when a character in the movie says, “Don’t you need a man to raise a man?” The mom says with aplomb, “No, I don’t think so.” It’s not like a huge feminist angry statement, it’s just practical.\u003c/p>\n\u003cfigure id=\"attachment_12608772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12608772\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-800x534.jpg\" alt=\"Lucas Jade Zumann and Annette Bening in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Jade Zumann and Annette Bening in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Can you explain the scene featuring a fight about punk versus “art fag” music?\u003c/b>\u003c/p>\n\u003cp>Back then it was very black and white. Music was a completely identifying tribal thing from head to toe. I remember coming out of a B-52s show and some of the kids were just waiting outside to see who went, almost like a blacklist.\u003c/p>\n\u003cp>Pre-internet times you had to steal someone’s car, drive to Los Angeles, sneak into shows as an underage person to see this band, to understand the energetic message it was trying to say to you. I was trying to express how much more physical it was, like your understanding of culture and your ability to get the culture. Now there are more options and they’re all blurred across these boundaries.\u003c/p>\n\u003cfigure id=\"attachment_12608777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12608777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-800x534.jpg\" alt=\"Greta Gerwig in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb.jpg 899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greta Gerwig in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You include several cultural artifacts from the 1970s. How did you go about incorporating them in an organic way?\u003c/b>\u003c/p>\n\u003cp>The curation of it is something I enjoy a lot. I love art, and objects, and cultural texts, and films. I find it really enriching and really just hugely helpful to describe the fabric and the texture of the lives of my fictional characters. Judy Blume’s \u003cem>Forever,\u003c/em> and \u003cem>The Road Less Traveled,\u003c/em> and \u003cem>Our Bodies, Ourselves\u003c/em> came from women I interviewed who were that age then. When Julie (Elle Fanning) talks about her first period and her first sexual experience, those are two of my friends’ experiences that I transcribed and put into the story.\u003c/p>\n\u003cfigure id=\"attachment_12608774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12608774\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-800x534.jpg\" alt=\"Lucas Jade Zumann and Elle Fanning in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Jade Zumann and Elle Fanning in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>In one scene Jamie reads an essay to his mom, “It Hurts To Be Alive and Obsolete: The Ageing Woman,” and she doesn’t react well. \u003c/b>\u003c/p>\n\u003cp>It’s written from the perspective of a middle-aged, feminist woman. He’s reading it to her thinking it’s going to make them connect and of course it doesn’t, it makes her hurt, and angry, and upset, and unable to be with him. Then the connection happens by surprise. They go on this trip and they’re in a junky Mexican restaurant and they actually have the most real conversation they’ve ever had about love.\u003c/p>\n\u003cp>That feels just very true life to me. It happens when you don’t see it coming, in the least auspicious moments often, and with characters it shouldn’t be happening with. Then it’s gone before you realize you had it and are only able to say it happened in retrospect.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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\u003cp>\u003c/p>\n\u003cp>\u003cem>’20th Century Women’ opens in Bay Area theaters on Friday, Jan. 13. For more information visit \u003ca href=\"http://a24films.com/films/20th-century-women/\" target=\"_blank\" rel=\"noopener\">A24 Films\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Berkeley native talks about translating his teenage years — and his own relationship with his mother — to the screen.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a filmmaker, Mike Mills has mastered the art of speaking in his late parents’ voices, lamenting the dead as a cross-generational ventriloquist. In the 2010 film \u003ci>Beginners\u003c/i>, he fictionalized his closeted gay father’s coming out story as an elegy to his life. With \u003ca href=\"http://20thcenturywomen-movie.com/\" target=\"_blank\" rel=\"noopener\">\u003ci>20th Century Women\u003c/i>\u003c/a>, opening in San Francisco Jan. 13, the director tells a story that’s largely from his mother’s more determined point of view.\u003c/p>\n\u003cp>Mills fictionalizes a brief moment in 1979 when his relationship with his mother shifted along with the cultural currents of that era. When teenager Jamie (Lucas Jade Zumann) tries to connect with his single mother Dorothea (Annette Bening), he reads an excerpt from \u003ci>Sisterhood is Powerful: An Anthology of Writings From The Women’s Liberation Movement\u003c/i>.\u003c/p>\n\u003cp>\u003ci>20th Century Women\u003c/i> examines those longed-for moments of connection between parents and children that often remain elusive. Mills captures that sense of emotional transience in his latest film, which we discussed in a San Francisco hotel a few weeks before it opened locally.\u003c/p>\n\u003cp>\u003cb>KQED Arts: Your opening shot of the Pacific Ocean is from above. Why start the narrative there?\u003c/b>\u003c/p>\n\u003cp>Mike Mills: It was a very odd image, dislocating. As soon as I saw it, I intuitively thought, “Let’s start the movie with that.” It’s like a field, but there’s something about the West as a frontier to me. It’s the border to the ocean, a liminal place where the edge of it is almost like Manifest Destiny, the edge of American progress. That always fit 1979 to me because I felt it’s the beginning of the end of American strength. It was some combination of all those things wrapped into that shot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Why did you want to make a movie about a mother and son after \u003ci>Beginners\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>“How can I write a story about being raised by women?” That was the beginning of it all for me. I’m so interwoven with my mom. It’s very much what it felt like in my house because I had my mom and my two sisters, and they’re the ones that raised me, they’re the ones who did everything.\u003c/p>\n\u003cp>There was this idea from my mom when a character in the movie says, “Don’t you need a man to raise a man?” The mom says with aplomb, “No, I don’t think so.” It’s not like a huge feminist angry statement, it’s just practical.\u003c/p>\n\u003cfigure id=\"attachment_12608772\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12608772\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-800x534.jpg\" alt=\"Lucas Jade Zumann and Annette Bening in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06843_1_rgb.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Jade Zumann and Annette Bening in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Can you explain the scene featuring a fight about punk versus “art fag” music?\u003c/b>\u003c/p>\n\u003cp>Back then it was very black and white. Music was a completely identifying tribal thing from head to toe. I remember coming out of a B-52s show and some of the kids were just waiting outside to see who went, almost like a blacklist.\u003c/p>\n\u003cp>Pre-internet times you had to steal someone’s car, drive to Los Angeles, sneak into shows as an underage person to see this band, to understand the energetic message it was trying to say to you. I was trying to express how much more physical it was, like your understanding of culture and your ability to get the culture. Now there are more options and they’re all blurred across these boundaries.\u003c/p>\n\u003cfigure id=\"attachment_12608777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12608777\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-800x534.jpg\" alt=\"Greta Gerwig in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_00935_rgb.jpg 899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greta Gerwig in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>You include several cultural artifacts from the 1970s. How did you go about incorporating them in an organic way?\u003c/b>\u003c/p>\n\u003cp>The curation of it is something I enjoy a lot. I love art, and objects, and cultural texts, and films. I find it really enriching and really just hugely helpful to describe the fabric and the texture of the lives of my fictional characters. Judy Blume’s \u003cem>Forever,\u003c/em> and \u003cem>The Road Less Traveled,\u003c/em> and \u003cem>Our Bodies, Ourselves\u003c/em> came from women I interviewed who were that age then. When Julie (Elle Fanning) talks about her first period and her first sexual experience, those are two of my friends’ experiences that I transcribed and put into the story.\u003c/p>\n\u003cfigure id=\"attachment_12608774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12608774\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-800x534.jpg\" alt=\"Lucas Jade Zumann and Elle Fanning in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/20th-century-women-epk-20CW_06049_rgb.jpg 1199w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Jade Zumann and Elle Fanning in ‘20th Century Women.’ (Photo: Gunther Gampine / A24)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>In one scene Jamie reads an essay to his mom, “It Hurts To Be Alive and Obsolete: The Ageing Woman,” and she doesn’t react well. \u003c/b>\u003c/p>\n\u003cp>It’s written from the perspective of a middle-aged, feminist woman. He’s reading it to her thinking it’s going to make them connect and of course it doesn’t, it makes her hurt, and angry, and upset, and unable to be with him. Then the connection happens by surprise. They go on this trip and they’re in a junky Mexican restaurant and they actually have the most real conversation they’ve ever had about love.\u003c/p>\n\u003cp>That feels just very true life to me. It happens when you don’t see it coming, in the least auspicious moments often, and with characters it shouldn’t be happening with. Then it’s gone before you realize you had it and are only able to say it happened in retrospect.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://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\u003cp>\u003c/p>\n\u003cp>\u003cem>’20th Century Women’ opens in Bay Area theaters on Friday, Jan. 13. For more information visit \u003ca href=\"http://a24films.com/films/20th-century-women/\" target=\"_blank\" rel=\"noopener\">A24 Films\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Affleck's 'Live By Night': An Ambitious, Frenetic But Overstuffed Gangster Film",
"headTitle": "Affleck’s ‘Live By Night’: An Ambitious, Frenetic But Overstuffed Gangster Film | KQED",
"content": "\u003cp>Ben Affleck made his debut as a director with 2007’s \u003cem>Gone Baby Gone,\u003c/em> a much-admired adaptation of a Dennis Lehane crime novel. After the success of 2012’s \u003cem>Argo\u003c/em> — which won the Academy Award for best picture without so much as a nomination for Affleck, its director and co-star — he was in a position to choose his projects, but he stuck with the one he’d been eyeing even before \u003cem>Argo\u003c/em> was released: \u003cem>Live By Night,\u003c/em> another Lehane book, this one about a Central Florida bootlegger’s struggles with rival gangsters and the Ku Klux Klan during the late 1920s and early 1930s.\u003c/p>\n\u003cp>But a funny thing happened on the way to the speakeasy: Affleck became a movie star again. He played a murder suspect in \u003cem>Gone Girl\u003c/em>, a critical and commercial hit, and signed a multi-picture deal as the latest Batman.\u003cem> Live by Night \u003c/em>was repeatedly back-burnered.\u003c/p>\n\u003cp>Now that it’s finally here, the finished film betrays its writer, producer, director, and star’s divided attention. The picture is handsome and ambitious but maddeningly unfocused. It aspires to be a grand meditation on American corruption in the vein of \u003cem>Once Upon a Time in America\u003c/em> or \u003cem>There Will Be Blood. \u003c/em>But in the end, it’s just a slightly better-than-mediocre genre picture, one literally dressed up in fancy clothes. (Affleck’s dozens of pinstripe suits and fedoras must have taken a substantial bite out of its $65 million budget.)\u003c/p>\n\u003cp>https://youtu.be/ClcQUlXcCKw\u003c/p>\n\u003cp>Part of the problem is Affleck’s screenplay, which tries to preserve more of Lehane’s 400-page book (itself the middle installment in a trilogy) than the film’s 128-minute run time can handle. The first act, which establishes Affleck’s Joe Coughlin as World War I vet-turned-hoodlum in Prohibition-era Boston, is particularly bloated. Coughlin is in love with a mobster’s mistress (Sienna Miller), and after a botched heist and a betrayal by his moll, he finds himself beaten and about to be murdered. His police-captain father (Brendan Gleeson, a pleasure to watch no matter how small the role) saves his life, and even blackmails a District Attorney to secure leniency for his son’s many crimes. Coughlin serves three years in prison, then finds himself drafted into the service of Italian mob capo (Remo Girone), who sends him to Tampa to clean up his operation illegally importing Cuban rum. Want to know more about how the son of a high-ranking cop became a crook? Me, too. Guess I’ll have to read Lehane’s book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, the movie should’ve eighty-sixed all that preamble and just opened with Coughlin getting off the train in Ybor City, where it finally manages a foothold on some less-trod narrative turf. Affleck has some nice chemistry with Chris Messina, who plays his lieutenant and guide to the shadowy parts of the Sunshine State, and his relationship with Chris Cooper — as Irving Figgis, a pragmatic lawman who’s willing to turn a blind eye to crimes of vice if the crooks keep violence to a minimum — is the picture’s most intriguing. Figgis has a teenage daughter, Loretta (Elle Fanning), who’s off to be a star in Hollywood. Of all the story’s shaggy turns, that Chief Figgis has given his blessing to this plan is the hardest to swallow.\u003c/p>\n\u003cp>Coughlin is a Irish Catholic working for Italians, romantically involved with a Cuban woman (Zoe Saldana), and running speakeasies that cater to black people. Any one of those would be reason enough to rile the KKK. Stopping a local Klansman from bombing and shooting up his clubs means blackmailing Chief Figgis with dirty pictures of his strung-out little girl. Once she gets clean, she becomes a church leader who campaigns against the casino Coughlin is building on the expectation that after prohibition ends, gambling, like hooch, will eventually be legalized. Like Cooper, Fanning makes a strong impression in just a handful of scenes, which just underscores how sterile the movie is when she (and he) is not in it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Again, it’s a miniseries worth of story packed too tightly to resonate on an emotional level. The overcaffeinated pace also prevents the film from breathing photographically, even though Affleck hired the great cinematographer Robert Richardson, who has shot multiple features for Martin Scorcese, Oliver Stone, and Quentin Tarantino, including last Christmas’s Ultra Panavision 70 Western \u003cem>The Hateful Eight. \u003c/em>That fact, even more than Affleck’s haphazard and intrusive voice-over narration, betrays the yawning gulf between what \u003cem>Live By Night \u003c/em>aims for and what it delivers.\u003c/p>\n\n",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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