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"content": "\u003cp>A new study finds that just seven percent of the 250 highest-grossing films of 2016 were directed by women.\u003c/p>\n\u003cp>The Center for the Study of Women in Television and Film at San Diego State University on Thursday issued the 19th annual edition of its report, titled “The Celluloid Ceiling,” authored by the center’s executive director, Martha M. Lauzen. The rate of female directors was down 2 percent from last year.\u003c/p>\n\u003cp>Despite widespread attention in recent years to gender inequality in the film industry, the study found not only that opportunities aren’t improving, but are getting slightly worse. Nearly 20 years ago, in 1998, 9 percent of the top films were directed by women.\u003c/p>\n\u003cp>Researchers found the disparity across the board. In 2016, women comprised 17 percent of all directors, writers, producers, executive producers, editors and cinematographers in the top 250 domestic-grossing films. That also is a decline of two percent from 2015.\u003c/p>\n\u003cp>In recent years, gender inequality in Hollywood has drawn increased scrutiny, including an ongoing investigation by the federal Equal Employment Opportunity Commission.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Numerous stars have also spoken out about pay disparity. Most recently, Natalie Portman, who last year released her directorial debut, \u003cem>A Tale of Love and Darkness\u003c/em>, told Marie Claire that she was paid three times less than co-star Ashton Kutcher in 2011’s \u003cem>No Strings Attached\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The center’s study also showed the trickle-down effect of hiring female directors. In analyzing the top 500 films, researchers found that on films with female directors, women accounted for 64 percent of writers. On male-directed films, just 9 percent were women.\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.73dayslater.com/\">\u003cstrong>\"73 Days Later\"\u003c/strong> \u003c/a>is a new, largely crowdsourced documentary film for which Americans can record their perspectives about the incoming Donald Trump administration, and \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\" target=\"_blank\">submit them to the filmmakers\u003c/a>. We spoke with the film's San Francisco-based director, Maxwell Salvati.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/302276805\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Why the title \"73 Days Later?\"\u003c/strong>\u003c/p>\n\u003cp>We're covering everything from Election Day through the inauguration. 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Every week, every cabinet choice, every event that we film, every rally, every film, every protest, every submission we get, it shifts a little bit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EDCdZ6u42n8\u003c/p>\n\u003cp>\u003cstrong>What questions are you asking people to answer in these videos?\u003c/strong>\u003c/p>\n\u003cp>One of the questions that has been the most engaging for me has been, 'If you could give Donald Trump one piece of advice, what would it be?' The primary answer from all parties, all affiliations, so far, has been to listen. I think that's one of the most common threads. Everyone, even if they're a Donald Trump supporter or their passionately against him, they don't think he listens. They really want him to step back and just be a little bit more careful with the people and the voices and the lives in this country.\u003c/p>\n\u003cp>Robert Rosendary is doing a thing called the \u003ca href=\"http://savingourfuture.com/2016/12/robert-rosendary-patriots-walk-across-america/\">Patriot Walk\u003c/a>, walking from California to Washington in the 73 days from election to inauguration. He's staunchly Republican and conservative, and he's been very critical of President Barack Obama. And he wants to listen, he wants to hear all perspectives. So it's quite aligned with the goals for our project. We both want to unite, we both want to listen. And we want to do our small part in bringing our country to a place where we can communicate and empathize with each other to get closer.\u003c/p>\n\u003cp>It's an unprecedented time, and it's important that we capture it honestly and carefully, and with the best intentions in mind, which is what we're doing with the film.\u003c/p>\n\u003cp>\u003cstrong>This is supposed to be a nonpartisan, unbiased film. You and the other filmmakers are based in San Francisco, a progressive city, in a state that voted overwhelmingly for Hillary Clinton. Are you worried that may skew the perspectives of the film?\u003c/strong>\u003c/p>\n\u003cp>I'm not worried that it's going to skew it. We've had multiple instances where, as soon as I've done interviews in the streets, people will ask if we're with team Trump. Because we've become so objective in our questioning, and I've been able to check my beliefs at the door.\u003c/p>\n\u003cp>\u003cstrong>I can imagine it would be really cathartic for people participating, getting interviewed or interviewing themselves for this film -- but what are you hoping the viewer will take away from it?\u003c/strong>\u003c/p>\n\u003cp>I'm hoping the film we make allows people to really assess whether or not they have been open and accepting and truly listening. Hearing people about their struggles, their strifes, their fears, their worries, their sorrows. Regardless of political affiliation, everyone wants the same common goal of happiness, and love, and safety, and warmth. And we all have different ways of going about that.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11265063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/73Days-800x801.jpg\" alt=\"73days\" width=\"800\" height=\"801\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-520x521.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In conducting these interviews and seeing the submissions, I can see that and I can feel that. And I'm changed already, in a massive way. I interact with people day to day so much more open and in the moment and present. I hope that same sentiment resonates with people if they see this film at home in the movie theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The filmmakers will continue to collect submissions and footage through Jan. 20 and hope to release the film soon after.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The new documentary, ’73 Days Later,’ invites Americans to record their own perspectives on the incoming Trump administration and submit them to the filmmakers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.73dayslater.com/\">\u003cstrong>\"73 Days Later\"\u003c/strong> \u003c/a>is a new, largely crowdsourced documentary film for which Americans can record their perspectives about the incoming Donald Trump administration, and \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\" target=\"_blank\">submit them to the filmmakers\u003c/a>. We spoke with the film's San Francisco-based director, Maxwell Salvati.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/302276805&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/302276805'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why the title \"73 Days Later?\"\u003c/strong>\u003c/p>\n\u003cp>We're covering everything from Election Day through the inauguration. We wanted to capture an accurate portrait of the country in the 73 days.\u003c/p>\n\u003cp>\u003cstrong>Why did you want to tackle this project?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Honestly, I didn't come up with the idea until halfway through election night, when I got a bit of a wake-up call. I thought I knew the narrative of our country. I was wrong. I decided to embark on making a film to kind of re-color my spectrum of understanding of who we were. To really listen and communicate and actually tune in with the pulse of our country.\u003c/p>\n\u003cp>I grew up in Los Angeles, went to college in Boston and live in San Francisco. As much as I'd like to say that I'm pretty accepting and knowledgeable of the large swaths of our country, I've lived in bubbles. This project was my way to try and give an accurate portrait of our country in this period to anyone and everyone who wants a platform to share their voice so we can start to communicate and become more united and less divided as a nation. This was my way of beginning that conversation.\u003c/p>\n\u003cp>\u003cstrong>So you’ve got a \u003ca href=\"https://www.73dayslater.com/submit-a-video-1\">website where people can submit videos\u003c/a> from their smartphones or computers between now and Jan. 20, and you’ve got a team of filmmakers doing some interviews as well. Then somehow you’ll stitch them together into a cohesive narrative?\u003c/strong>\u003c/p>\n\u003cp>That's the goal. We are running full force right now with filmmakers and submissions. The narrative of this film has been a little bit elusive. Every week, every cabinet choice, every event that we film, every rally, every film, every protest, every submission we get, it shifts a little bit.\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/EDCdZ6u42n8'\n title='//www.youtube.com/embed/EDCdZ6u42n8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What questions are you asking people to answer in these videos?\u003c/strong>\u003c/p>\n\u003cp>One of the questions that has been the most engaging for me has been, 'If you could give Donald Trump one piece of advice, what would it be?' The primary answer from all parties, all affiliations, so far, has been to listen. I think that's one of the most common threads. Everyone, even if they're a Donald Trump supporter or their passionately against him, they don't think he listens. They really want him to step back and just be a little bit more careful with the people and the voices and the lives in this country.\u003c/p>\n\u003cp>Robert Rosendary is doing a thing called the \u003ca href=\"http://savingourfuture.com/2016/12/robert-rosendary-patriots-walk-across-america/\">Patriot Walk\u003c/a>, walking from California to Washington in the 73 days from election to inauguration. He's staunchly Republican and conservative, and he's been very critical of President Barack Obama. And he wants to listen, he wants to hear all perspectives. So it's quite aligned with the goals for our project. We both want to unite, we both want to listen. And we want to do our small part in bringing our country to a place where we can communicate and empathize with each other to get closer.\u003c/p>\n\u003cp>It's an unprecedented time, and it's important that we capture it honestly and carefully, and with the best intentions in mind, which is what we're doing with the film.\u003c/p>\n\u003cp>\u003cstrong>This is supposed to be a nonpartisan, unbiased film. You and the other filmmakers are based in San Francisco, a progressive city, in a state that voted overwhelmingly for Hillary Clinton. Are you worried that may skew the perspectives of the film?\u003c/strong>\u003c/p>\n\u003cp>I'm not worried that it's going to skew it. We've had multiple instances where, as soon as I've done interviews in the streets, people will ask if we're with team Trump. Because we've become so objective in our questioning, and I've been able to check my beliefs at the door.\u003c/p>\n\u003cp>\u003cstrong>I can imagine it would be really cathartic for people participating, getting interviewed or interviewing themselves for this film -- but what are you hoping the viewer will take away from it?\u003c/strong>\u003c/p>\n\u003cp>I'm hoping the film we make allows people to really assess whether or not they have been open and accepting and truly listening. Hearing people about their struggles, their strifes, their fears, their worries, their sorrows. Regardless of political affiliation, everyone wants the same common goal of happiness, and love, and safety, and warmth. And we all have different ways of going about that.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11265063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/01/73Days-800x801.jpg\" alt=\"73days\" width=\"800\" height=\"801\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-520x521.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/01/73Days-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>In conducting these interviews and seeing the submissions, I can see that and I can feel that. And I'm changed already, in a massive way. I interact with people day to day so much more open and in the moment and present. I hope that same sentiment resonates with people if they see this film at home in the movie theater.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The filmmakers will continue to collect submissions and footage through Jan. 20 and hope to release the film soon after.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Don't Exposés About Scientology Hurt Tom Cruise's Career?",
"headTitle": "Why Don’t Exposés About Scientology Hurt Tom Cruise’s Career? | KQED",
"content": "\u003cp>“Trapped in the Closet,” arguably the greatest \u003cem>South Park\u003c/em> episode ever, aired 11 years ago. In addition to its side-storyline involving \u003ca href=\"https://www.youtube.com/watch?v=EPzvExtJgxw\">Tom Cruise and John Travolta refusing to come out of a literal closet\u003c/a>, the episode concisely broke down the “secret doctrine” of Scientology for a mass audience for the very first time.\u003c/p>\n\u003cp>The details about intergalactic overlord Xenu solving an overpopulation problem 75 million years ago seemed so typical of \u003cem>South Park\u003c/em>’s penchant for the absurd that the creators felt obliged to put the words “THIS IS WHAT SCIENTOLOGISTS ACTUALLY BELIEVE” on-screen, lest viewers think Matt Stone and Trey Parker were making it all up.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BU2EUfinwHo\u003c/p>\n\u003cp>After the blisteringly clever episode aired, it is rumored to have caused everyone involved a whole \u003ca href=\"http://www.huffingtonpost.com/2011/10/24/church-of-scientology-investigate-south-park_n_1027538.html\">heap of Scientology-related problems\u003c/a>.\u003c/p>\n\u003cp>Television that exposes the inner workings of Scientology is having a moment right now. HBO’s \u003ca href=\"https://www.youtube.com/watch?v=ixgd38EZIR0\">\u003cem>Going Clear: Scientology and the Prison of Belief\u003c/em>\u003c/a>, originally aired in 2015, is still making waves. Through a wealth of interviews with ex-members and painstaking research, the documentary made a number of startling claims about the organization and its conditions for devotees — physical and mental abuse, slave labor and enforced imprisonment in inhumane conditions, and enormous financial burdens, to name a few. Those who have left the church describe harassment, surveillance and defamatory statements made about them by the church, a policy referred to within Scientology as “fair game.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ixgd38EZIR0\u003c/p>\n\u003cp>Then, in November, A&E launched \u003ca href=\"http://www.imdb.com/title/tt6244192/episodes?year=2016&ref_=tt_eps_yr_2016\">\u003cem>Leah Remini: Scientology and the Aftermath\u003c/em>\u003c/a>, a staggering series that delves even deeper into the church, uncovering a culture of paranoia, a system that actively deceives and extorts its members, the purposeful breaking up of families (under a practice known as “disconnection”), and even claims of forced abortion. (Statements of denial from the church appear at the beginning of each episode.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xldDUAVARDo\u003c/p>\n\u003cp>In both HBO’s film and Leah Remini’s series, Scientology’s preoccupation with its celebrity members features prominently, with focus keenly trained on both John Travolta and Tom Cruise. But while Travolta is painted in \u003cem>Going Clear\u003c/em> as a somewhat trapped and exploited figure, Cruise is represented as a power-hungry control freak; an egotist; a person willing to participate in the surveillance of his romantic partners; a suitor who will callously discard women who displease him; a man who enjoys all of the luxurious perks of being a higher-up in the church while ignoring the exploitation of those further down the food chain in the “Sea Org.”\u003c/p>\n\u003cp>For even casual observers, the wealth of evidence uncovered over the last few years has made it almost impossible to ignore the goings-on within the Church of Scientology. Reports have appeared on \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=dEwIb1ljMDY\">Anderson Cooper 360\u003c/a>\u003c/em> (2010), \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wubOY-5pDKg\">Nightline\u003c/a>\u003c/em> (2015), and the UK’s respected \u003ca href=\"https://www.youtube.com/watch?v=zqBMWUOGALk\">\u003cem>Panorama\u003c/em> \u003c/a>investigative series (2007). \u003cem>\u003ca href=\"http://www.vanityfair.com/hollywood/2012/10/katie-holmes-divorce-scientology\">Vanity Fair\u003c/a>\u003c/em> published an exposé about Tom Cruise’s Scientology-influenced romantic life in 2012. \u003ca href=\"http://www.villagevoice.com/news/the-top-25-people-crippling-scientology-no-3-marty-rathbun-6706380\">\u003cem>The Village Voice\u003c/em>\u003c/a> did an entire series in 2011 titled “The Top 25 People Crippling Scientology.” Gossip magazines, including \u003cem>\u003ca href=\"http://www.usmagazine.com/celebrity-news/news/tom-cruise-reportedly-hasnt-seen-daughter-suri-in-years-w434605\">US Weekly\u003c/a>\u003c/em>, and TV shows alike regularly speculate on the church’s untoward influence over celebrity members’ lives. There is an entire \u003ca href=\"https://en.wikipedia.org/wiki/Scientology_controversies\">Wikipedia page\u003c/a> and at least five prominent blogs dedicated to documenting the church’s legal problems. In addition, there are at least 10 books written by ex-Scientologists or their family members (including \u003ca href=\"https://www.amazon.com/Ruthless-Scientology-Son-David-Miscavige/dp/1250096936/ref=sr_1_1?s=books&ie=UTF8&qid=1483562285&sr=1-1&keywords=ron+miscavige\">Ron Miscavige\u003c/a>, the father of apparently all-powerful church leader, David Miscavige), all of which allege a great many wrongdoings within the church.\u003c/p>\n\u003cp>At every turn, facing down each controversy or legal challenge, the church vehemently denies all of the allegations made against it. Cruise himself has maintained a defensive position for years. As far back as 2004, Cruise appeared \u003ca href=\"https://www.youtube.com/watch?v=UFBZ_uAbxS0\">slightly manic\u003c/a> in a Scientology promotional video, and in 2005, he aggressively patronized Matt Lauer when espousing the anti-psychiatry stance of the church on \u003cem>The Today Show\u003c/em> (skip to 8:17 to see the outburst):\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tFgF1JPNR5E\u003c/p>\n\u003cp>In more recent years, the church of Scientology has almost entirely quit communicating with the media, except to issue denials of any and all allegations made against it. Tom Cruise has also pulled back when it comes to talking about his religion publicly. But, even without the church’s input, the evidence keeps piling up. In 2016, it became hard to ignore the fact that this organization is, at best, philosophically problematic, and at worst, potentially guilty of several major federal crimes (including tax evasion).\u003c/p>\n\u003cp>With all we now know about what (allegedly) takes place in the church, how do we justify continuing to put money in Cruise’s pocket, when we know at least some of those funds are going right back into Scientology?\u003c/p>\n\u003cp>In Cruise’s case, the exchange between the public’s wallet and his bank account is direct; the actor has a habit of eschewing a fixed payment for his movies, preferring instead to \u003ca href=\"http://www.forbes.com/lists/2005/53/6YG2.html\">take a percentage\u003c/a> of the box office. His appeal is obvious. But so is his high-ranking involvement in an organization that seems to have done a great deal of damage to a multitude of people, over an extended period of time.\u003c/p>\n\u003cp>Cruise made $53 million last year. According to \u003cem>Forbes\u003c/em>, that made him the \u003ca href=\"http://screenrant.com/highest-paid-actors-of-2016/?view=all\">fifth highest-paid actor\u003c/a> of 2016. It was an increase on the $40 million he made in 2015. In 2012, Cruise was the highest-paid actor on \u003cem>Forbes\u003c/em>’ list, having made $75 million that year. Cruise’s unerring popularity is something Scientology is, and always has been, proud of. \u003ca href=\"https://www.youtube.com/watch?v=UFBZ_uAbxS0\">One promotional video\u003c/a> noted that: “Tom Cruise has introduced LRH [L. Ron Hubbard] technology to over one billion people of Earth.”\u003c/p>\n\u003cp>As Leah Remini told \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=60yckxA05fY\">Entertainment Tonight\u003c/a> \u003c/em>in 2015: “Being critical of Tom Cruise is being critical of Scientology itself. You are a person who is anti- the aims and goals of Scientology.”\u003c/p>\n\u003cp>So why hasn’t Cruise’s career been affected yet? Tom Cruise is an admittedly great movie star. He is slow to age and he has a penchant for making movies with small plots and big effects. He does death-defying stunts and runs fast and keeps his teeth white. He takes a lot of selfies on a lot of red carpets with a lot of fans. His appeal is obvious. But so is his high-ranking involvement with an organization that a great many people say has caused them a great deal of damage.\u003c/p>\n\u003cp>Perhaps the public is willing to turn a blind eye despite our unerring fascination with stars’ private lives, because it’s easier to not have to think about famous people’s personal choices when picking the movies we want to see. (Roman Polanski, Woody Allen, and every still-successful actor who has ever been accused of assault provide evidence of this). Perhaps respecting religious freedom is so ingrained in the American psyche, few feel right about questioning Cruise’s belief system.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Of course it’s difficult not to gaze on in fascination as Tom Cruise \u003ca href=\"https://www.youtube.com/watch?v=afS5ks54tms\">hangs off the side of a moving plane\u003c/a>. But it should be equally as hard to ignore the devastated tears of the families that feature in every episode of Remini’s A&E series. When this many people have had their lives detrimentally affected, we should be holding accountable \u003cem>all\u003c/em> of the people involved in the organization responsible — even the ones we’ve been watching and enjoying on the big screen for decades.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Trapped in the Closet,” arguably the greatest \u003cem>South Park\u003c/em> episode ever, aired 11 years ago. In addition to its side-storyline involving \u003ca href=\"https://www.youtube.com/watch?v=EPzvExtJgxw\">Tom Cruise and John Travolta refusing to come out of a literal closet\u003c/a>, the episode concisely broke down the “secret doctrine” of Scientology for a mass audience for the very first time.\u003c/p>\n\u003cp>The details about intergalactic overlord Xenu solving an overpopulation problem 75 million years ago seemed so typical of \u003cem>South Park\u003c/em>’s penchant for the absurd that the creators felt obliged to put the words “THIS IS WHAT SCIENTOLOGISTS ACTUALLY BELIEVE” on-screen, lest viewers think Matt Stone and Trey Parker were making it all up.\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/BU2EUfinwHo'\n title='//www.youtube.com/embed/BU2EUfinwHo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the blisteringly clever episode aired, it is rumored to have caused everyone involved a whole \u003ca href=\"http://www.huffingtonpost.com/2011/10/24/church-of-scientology-investigate-south-park_n_1027538.html\">heap of Scientology-related problems\u003c/a>.\u003c/p>\n\u003cp>Television that exposes the inner workings of Scientology is having a moment right now. HBO’s \u003ca href=\"https://www.youtube.com/watch?v=ixgd38EZIR0\">\u003cem>Going Clear: Scientology and the Prison of Belief\u003c/em>\u003c/a>, originally aired in 2015, is still making waves. Through a wealth of interviews with ex-members and painstaking research, the documentary made a number of startling claims about the organization and its conditions for devotees — physical and mental abuse, slave labor and enforced imprisonment in inhumane conditions, and enormous financial burdens, to name a few. Those who have left the church describe harassment, surveillance and defamatory statements made about them by the church, a policy referred to within Scientology as “fair game.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ixgd38EZIR0'\n title='//www.youtube.com/embed/ixgd38EZIR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then, in November, A&E launched \u003ca href=\"http://www.imdb.com/title/tt6244192/episodes?year=2016&ref_=tt_eps_yr_2016\">\u003cem>Leah Remini: Scientology and the Aftermath\u003c/em>\u003c/a>, a staggering series that delves even deeper into the church, uncovering a culture of paranoia, a system that actively deceives and extorts its members, the purposeful breaking up of families (under a practice known as “disconnection”), and even claims of forced abortion. (Statements of denial from the church appear at the beginning of each episode.)\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/xldDUAVARDo'\n title='//www.youtube.com/embed/xldDUAVARDo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In both HBO’s film and Leah Remini’s series, Scientology’s preoccupation with its celebrity members features prominently, with focus keenly trained on both John Travolta and Tom Cruise. But while Travolta is painted in \u003cem>Going Clear\u003c/em> as a somewhat trapped and exploited figure, Cruise is represented as a power-hungry control freak; an egotist; a person willing to participate in the surveillance of his romantic partners; a suitor who will callously discard women who displease him; a man who enjoys all of the luxurious perks of being a higher-up in the church while ignoring the exploitation of those further down the food chain in the “Sea Org.”\u003c/p>\n\u003cp>For even casual observers, the wealth of evidence uncovered over the last few years has made it almost impossible to ignore the goings-on within the Church of Scientology. Reports have appeared on \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=dEwIb1ljMDY\">Anderson Cooper 360\u003c/a>\u003c/em> (2010), \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wubOY-5pDKg\">Nightline\u003c/a>\u003c/em> (2015), and the UK’s respected \u003ca href=\"https://www.youtube.com/watch?v=zqBMWUOGALk\">\u003cem>Panorama\u003c/em> \u003c/a>investigative series (2007). \u003cem>\u003ca href=\"http://www.vanityfair.com/hollywood/2012/10/katie-holmes-divorce-scientology\">Vanity Fair\u003c/a>\u003c/em> published an exposé about Tom Cruise’s Scientology-influenced romantic life in 2012. \u003ca href=\"http://www.villagevoice.com/news/the-top-25-people-crippling-scientology-no-3-marty-rathbun-6706380\">\u003cem>The Village Voice\u003c/em>\u003c/a> did an entire series in 2011 titled “The Top 25 People Crippling Scientology.” Gossip magazines, including \u003cem>\u003ca href=\"http://www.usmagazine.com/celebrity-news/news/tom-cruise-reportedly-hasnt-seen-daughter-suri-in-years-w434605\">US Weekly\u003c/a>\u003c/em>, and TV shows alike regularly speculate on the church’s untoward influence over celebrity members’ lives. There is an entire \u003ca href=\"https://en.wikipedia.org/wiki/Scientology_controversies\">Wikipedia page\u003c/a> and at least five prominent blogs dedicated to documenting the church’s legal problems. In addition, there are at least 10 books written by ex-Scientologists or their family members (including \u003ca href=\"https://www.amazon.com/Ruthless-Scientology-Son-David-Miscavige/dp/1250096936/ref=sr_1_1?s=books&ie=UTF8&qid=1483562285&sr=1-1&keywords=ron+miscavige\">Ron Miscavige\u003c/a>, the father of apparently all-powerful church leader, David Miscavige), all of which allege a great many wrongdoings within the church.\u003c/p>\n\u003cp>At every turn, facing down each controversy or legal challenge, the church vehemently denies all of the allegations made against it. Cruise himself has maintained a defensive position for years. As far back as 2004, Cruise appeared \u003ca href=\"https://www.youtube.com/watch?v=UFBZ_uAbxS0\">slightly manic\u003c/a> in a Scientology promotional video, and in 2005, he aggressively patronized Matt Lauer when espousing the anti-psychiatry stance of the church on \u003cem>The Today Show\u003c/em> (skip to 8:17 to see the outburst):\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/tFgF1JPNR5E'\n title='//www.youtube.com/embed/tFgF1JPNR5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In more recent years, the church of Scientology has almost entirely quit communicating with the media, except to issue denials of any and all allegations made against it. Tom Cruise has also pulled back when it comes to talking about his religion publicly. But, even without the church’s input, the evidence keeps piling up. In 2016, it became hard to ignore the fact that this organization is, at best, philosophically problematic, and at worst, potentially guilty of several major federal crimes (including tax evasion).\u003c/p>\n\u003cp>With all we now know about what (allegedly) takes place in the church, how do we justify continuing to put money in Cruise’s pocket, when we know at least some of those funds are going right back into Scientology?\u003c/p>\n\u003cp>In Cruise’s case, the exchange between the public’s wallet and his bank account is direct; the actor has a habit of eschewing a fixed payment for his movies, preferring instead to \u003ca href=\"http://www.forbes.com/lists/2005/53/6YG2.html\">take a percentage\u003c/a> of the box office. His appeal is obvious. But so is his high-ranking involvement in an organization that seems to have done a great deal of damage to a multitude of people, over an extended period of time.\u003c/p>\n\u003cp>Cruise made $53 million last year. According to \u003cem>Forbes\u003c/em>, that made him the \u003ca href=\"http://screenrant.com/highest-paid-actors-of-2016/?view=all\">fifth highest-paid actor\u003c/a> of 2016. It was an increase on the $40 million he made in 2015. In 2012, Cruise was the highest-paid actor on \u003cem>Forbes\u003c/em>’ list, having made $75 million that year. Cruise’s unerring popularity is something Scientology is, and always has been, proud of. \u003ca href=\"https://www.youtube.com/watch?v=UFBZ_uAbxS0\">One promotional video\u003c/a> noted that: “Tom Cruise has introduced LRH [L. Ron Hubbard] technology to over one billion people of Earth.”\u003c/p>\n\u003cp>As Leah Remini told \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=60yckxA05fY\">Entertainment Tonight\u003c/a> \u003c/em>in 2015: “Being critical of Tom Cruise is being critical of Scientology itself. You are a person who is anti- the aims and goals of Scientology.”\u003c/p>\n\u003cp>So why hasn’t Cruise’s career been affected yet? Tom Cruise is an admittedly great movie star. He is slow to age and he has a penchant for making movies with small plots and big effects. He does death-defying stunts and runs fast and keeps his teeth white. He takes a lot of selfies on a lot of red carpets with a lot of fans. His appeal is obvious. But so is his high-ranking involvement with an organization that a great many people say has caused them a great deal of damage.\u003c/p>\n\u003cp>Perhaps the public is willing to turn a blind eye despite our unerring fascination with stars’ private lives, because it’s easier to not have to think about famous people’s personal choices when picking the movies we want to see. (Roman Polanski, Woody Allen, and every still-successful actor who has ever been accused of assault provide evidence of this). Perhaps respecting religious freedom is so ingrained in the American psyche, few feel right about questioning Cruise’s belief system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course it’s difficult not to gaze on in fascination as Tom Cruise \u003ca href=\"https://www.youtube.com/watch?v=afS5ks54tms\">hangs off the side of a moving plane\u003c/a>. But it should be equally as hard to ignore the devastated tears of the families that feature in every episode of Remini’s A&E series. When this many people have had their lives detrimentally affected, we should be holding accountable \u003cem>all\u003c/em> of the people involved in the organization responsible — even the ones we’ve been watching and enjoying on the big screen for decades.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>La La Land\u003c/em> steamrolled through a Jimmy Fallon-hosted Golden Globes that mixed the expected, Champagne-sipping Hollywood celebration with often-voiced concern over president-elect Donald Trump.\u003c/p>\n\u003cp>Though \u003cem>La La Land\u003c/em> dominated with seven awards, including best motion picture, comedy or musical, the night’s final award went to Barry Jenkins’ tender coming of age drama \u003cem>Moonlight\u003c/em>. Its sole award was for best motion picture, drama.\u003c/p>\n\u003cp>But Meryl Streep, the Cecil B. DeMille Award honoree, supplied Sunday evening’s most striking moment: a rebuke to Trump that stirred the Beverly Hilton Hotel crowd. Streep, who spoke at the Democratic National Convention, called the president-elect’s mocking of a disabled reporter the year’s performance that most “stunned her.”\u003c/p>\n\u003cp>Arguing for the multinational makeup of Hollywood, Streep listed off the far-flung homes of stars from Dev Patel to Ryan Gosling.\u003c/p>\n\u003cp>“Hollywood is crawling with outsiders and foreigners and if you kick them all out, you’ll have nothing to watch but football and mixed martial arts, which are not the arts,” Streep said to loud applause.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Damien Chazelle’s Los Angeles musical \u003cem>La La Land\u003c/em> came in with a leading seven nominations, and won everything it was nominated for, including best film, musical or comedy. Chazelle won both best director and best screenplay. Gosling won best actor in a comedy or musical, as did Emma Stone for best actress. It also took best score (Justin Hurwitz) and best song for “City of Stars.”\u003c/p>\n\u003cp>“I’m in in daze now, officially,” said Chazelle accepting his award for directing.\u003c/p>\n\u003cp>On one of the evening’s more emotional acceptance speeches, Gosling dedicated his award to the late brother of his partner, Eva Mendes.\u003c/p>\n\u003cp>“While I was singing and dancing and playing piano and having one of the best experiences I’ve ever had on a film, my lady was raising our daughter, pregnant with our second and trying to help her brother fight his battle with cancer,” said Gosling, referring to Juan Carlos Mendes.\u003c/p>\n\u003cp>The Beverly Hills, California, ceremony got off to a rocky start, with a broken teleprompter initially froze Fallon. “Cut to Justin Timberlake, please,” implored a desperately improvising Fallon. It was the second fiasco for Globes producer Dick Clark Productions, which presented the infamous Mariah Carey flub on New Year’s Eve.\u003c/p>\n\u003cp>The \u003cem>Tonight Show\u003c/em> host started the show with a cold open ode to \u003cem>La La Land\u003c/em> in a lavish sketch more typical of the Academy Awards than the Globes. Fallon did a version of the film’s opening dance scene, with starry cameos from Timberlake, previous Globes host Tina Fey, Amy Adams and the white Ford Bronco of \u003cem>The People v. O.J. Simpson\u003c/em>.\u003c/p>\n\u003cp>In a more truncated monologue, Fallon’s sharpest barbs weren’t directed at the stars in the room (as was the style of frequent host Ricky Gervais) but president-elect Trump. He compared Trump to the belligerent teenage king Joffrey of \u003cem>Games of Thrones\u003c/em>. His first line (at least once the teleprompter was up) was introducing the Globes as “one of the few places left where America still honors the popular vote.”\u003c/p>\n\u003cp>That, though, isn’t quite true. The Hollywood Foreign Press Association, a collection of 85 members, has its own methods of selecting winners. Best supporting actress winner Viola Davis, the co-star of Denzel Washington’s August Wilson adaptation \u003cem>Fences\u003c/em>, alluded to the group’s reputation for being wined and dined.\u003c/p>\n\u003cp>“I took all the pictures, went to luncheon,” said Davis, to knowing chuckles through the ballroom, as she clutched her award. “But it’s right on time.”\u003c/p>\n\u003cp>Davis continued what appears to be a certain path to the Oscar. Another favorite, Casey Affleck, also padded his favorite status. The \u003cem>Manchester by the Sea\u003c/em> star took best actor.\u003c/p>\n\u003cp>Coming a year after a second-straight of #OscarsSoWhite protests, the night was notable for the widespread diversity of its winners, in film and TV. Donald Glover’s \u003cem>Atlanta\u003c/em> won best comedy series over heavyweights like \u003cem>Veep\u003c/em> and \u003cem>Transparent\u003c/em>, and Glover later added best actor in a comedy. Glover looked visibly surprised.\u003c/p>\n\u003cp>“I really want to thank Atlanta and all the black folks in Atlanta,” said Glover. “I couldn’t be here without Atlanta.”\u003c/p>\n\u003cp>Tracee Ellis Ross, accepting the award for best actress in a TV comedy for \u003cem>Black-ish\u003c/em>, dedicated her award to “all of the women of color and colorful people whose stories, ideas, thoughts are not always considered worthy and valid and important.”\u003c/p>\n\u003cp>“I want you to know that I see you, we see you,” said Ross.\u003c/p>\n\u003cp>And a true Oscar showdown was never in the offing at the Globes. Since the show separates drama from comedy and musical,\u003cem> La La Land\u003c/em> didn’t go face-to-face with its top competition, \u003cem>Moonlight\u003c/em> and \u003cem>Manchester by the Sea\u003c/em>, in top categories.\u003c/p>\n\u003cp>The British actor Aaron Taylor-Johnson took best supporting actor for his performance in Tom Ford’s \u003cem>Nocturnal Animals\u003c/em>. It was a surprise that Taylor-Johnson was even nominated, so his win over favorites Mahershala Ali from \u003cem>Moonlight\u003c/em> and Jeff Bridges from H\u003cem>ell or High Water\u003c/em> was a shock.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson\u003c/em> taking best miniseries, as well as an award for Sarah Paulson. But other winners were less prepared.\u003c/p>\n\u003cp>Hugh Laurie, star of \u003cem>The Night Manager\u003c/em>, looked even more surprised when he won best supporting actor in a limited series or TV film over the likes of John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>) and John Lithgow (\u003cem>The Crown\u003c/em>).\u003c/p>\n\u003cp>Laurie was one of the few early winners to pepper his acceptance speech with comments about Trump. “I accept this award on behalf of psychopathic billionaires everywhere,” he said. \u003cem>The Night Manager\u003c/em> won two more awards, including best actor for Tom Hiddleston.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul Verhoeven’s \u003cem>Elle\u003c/em> won best foreign language film. Disney’s \u003cem>Zootopia\u003c/em> took best animated feature.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>La La Land\u003c/em> steamrolled through a Jimmy Fallon-hosted Golden Globes that mixed the expected, Champagne-sipping Hollywood celebration with often-voiced concern over president-elect Donald Trump.\u003c/p>\n\u003cp>Though \u003cem>La La Land\u003c/em> dominated with seven awards, including best motion picture, comedy or musical, the night’s final award went to Barry Jenkins’ tender coming of age drama \u003cem>Moonlight\u003c/em>. Its sole award was for best motion picture, drama.\u003c/p>\n\u003cp>But Meryl Streep, the Cecil B. DeMille Award honoree, supplied Sunday evening’s most striking moment: a rebuke to Trump that stirred the Beverly Hilton Hotel crowd. Streep, who spoke at the Democratic National Convention, called the president-elect’s mocking of a disabled reporter the year’s performance that most “stunned her.”\u003c/p>\n\u003cp>Arguing for the multinational makeup of Hollywood, Streep listed off the far-flung homes of stars from Dev Patel to Ryan Gosling.\u003c/p>\n\u003cp>“Hollywood is crawling with outsiders and foreigners and if you kick them all out, you’ll have nothing to watch but football and mixed martial arts, which are not the arts,” Streep said to loud applause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Damien Chazelle’s Los Angeles musical \u003cem>La La Land\u003c/em> came in with a leading seven nominations, and won everything it was nominated for, including best film, musical or comedy. Chazelle won both best director and best screenplay. Gosling won best actor in a comedy or musical, as did Emma Stone for best actress. It also took best score (Justin Hurwitz) and best song for “City of Stars.”\u003c/p>\n\u003cp>“I’m in in daze now, officially,” said Chazelle accepting his award for directing.\u003c/p>\n\u003cp>On one of the evening’s more emotional acceptance speeches, Gosling dedicated his award to the late brother of his partner, Eva Mendes.\u003c/p>\n\u003cp>“While I was singing and dancing and playing piano and having one of the best experiences I’ve ever had on a film, my lady was raising our daughter, pregnant with our second and trying to help her brother fight his battle with cancer,” said Gosling, referring to Juan Carlos Mendes.\u003c/p>\n\u003cp>The Beverly Hills, California, ceremony got off to a rocky start, with a broken teleprompter initially froze Fallon. “Cut to Justin Timberlake, please,” implored a desperately improvising Fallon. It was the second fiasco for Globes producer Dick Clark Productions, which presented the infamous Mariah Carey flub on New Year’s Eve.\u003c/p>\n\u003cp>The \u003cem>Tonight Show\u003c/em> host started the show with a cold open ode to \u003cem>La La Land\u003c/em> in a lavish sketch more typical of the Academy Awards than the Globes. Fallon did a version of the film’s opening dance scene, with starry cameos from Timberlake, previous Globes host Tina Fey, Amy Adams and the white Ford Bronco of \u003cem>The People v. O.J. Simpson\u003c/em>.\u003c/p>\n\u003cp>In a more truncated monologue, Fallon’s sharpest barbs weren’t directed at the stars in the room (as was the style of frequent host Ricky Gervais) but president-elect Trump. He compared Trump to the belligerent teenage king Joffrey of \u003cem>Games of Thrones\u003c/em>. His first line (at least once the teleprompter was up) was introducing the Globes as “one of the few places left where America still honors the popular vote.”\u003c/p>\n\u003cp>That, though, isn’t quite true. The Hollywood Foreign Press Association, a collection of 85 members, has its own methods of selecting winners. Best supporting actress winner Viola Davis, the co-star of Denzel Washington’s August Wilson adaptation \u003cem>Fences\u003c/em>, alluded to the group’s reputation for being wined and dined.\u003c/p>\n\u003cp>“I took all the pictures, went to luncheon,” said Davis, to knowing chuckles through the ballroom, as she clutched her award. “But it’s right on time.”\u003c/p>\n\u003cp>Davis continued what appears to be a certain path to the Oscar. Another favorite, Casey Affleck, also padded his favorite status. The \u003cem>Manchester by the Sea\u003c/em> star took best actor.\u003c/p>\n\u003cp>Coming a year after a second-straight of #OscarsSoWhite protests, the night was notable for the widespread diversity of its winners, in film and TV. Donald Glover’s \u003cem>Atlanta\u003c/em> won best comedy series over heavyweights like \u003cem>Veep\u003c/em> and \u003cem>Transparent\u003c/em>, and Glover later added best actor in a comedy. Glover looked visibly surprised.\u003c/p>\n\u003cp>“I really want to thank Atlanta and all the black folks in Atlanta,” said Glover. “I couldn’t be here without Atlanta.”\u003c/p>\n\u003cp>Tracee Ellis Ross, accepting the award for best actress in a TV comedy for \u003cem>Black-ish\u003c/em>, dedicated her award to “all of the women of color and colorful people whose stories, ideas, thoughts are not always considered worthy and valid and important.”\u003c/p>\n\u003cp>“I want you to know that I see you, we see you,” said Ross.\u003c/p>\n\u003cp>And a true Oscar showdown was never in the offing at the Globes. Since the show separates drama from comedy and musical,\u003cem> La La Land\u003c/em> didn’t go face-to-face with its top competition, \u003cem>Moonlight\u003c/em> and \u003cem>Manchester by the Sea\u003c/em>, in top categories.\u003c/p>\n\u003cp>The British actor Aaron Taylor-Johnson took best supporting actor for his performance in Tom Ford’s \u003cem>Nocturnal Animals\u003c/em>. It was a surprise that Taylor-Johnson was even nominated, so his win over favorites Mahershala Ali from \u003cem>Moonlight\u003c/em> and Jeff Bridges from H\u003cem>ell or High Water\u003c/em> was a shock.\u003c/p>\n\u003cp>\u003cem>The People v. O.J. Simpson\u003c/em> taking best miniseries, as well as an award for Sarah Paulson. But other winners were less prepared.\u003c/p>\n\u003cp>Hugh Laurie, star of \u003cem>The Night Manager\u003c/em>, looked even more surprised when he won best supporting actor in a limited series or TV film over the likes of John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>) and John Lithgow (\u003cem>The Crown\u003c/em>).\u003c/p>\n\u003cp>Laurie was one of the few early winners to pepper his acceptance speech with comments about Trump. “I accept this award on behalf of psychopathic billionaires everywhere,” he said. \u003cem>The Night Manager\u003c/em> won two more awards, including best actor for Tom Hiddleston.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Paul Verhoeven’s \u003cem>Elle\u003c/em> won best foreign language film. Disney’s \u003cem>Zootopia\u003c/em> took best animated feature.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! The Polished Pulp of Paul Verhoeven at the Roxie",
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"content": "\u003cp>The Dutch director Paul Verhoeven is a practiced provocateur, that’s certain. The perennial question, though, is whether he’s a purveyor of glossy exploitation films or a sly social satirist. His button-pushing French-language hit, \u003cem>Elle\u003c/em>, lends itself to both readings, even if (like me) you credit the film as a study of a woman of a certain age (a cruelly kind Isabelle Huppert) grappling with her evolving — though not waning — sexual power.\u003c/p>\n\u003cp>This is an excellent time to revisit and reconsider Verhoeven’s oeuvre, as it’s likely that enormous pressure will be brought to bear in the coming weeks, months and years against outspoken, over-the-top cultural statements. \u003c/p>\n\u003cfigure id=\"attachment_12600355\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BasicInstinct.png\" alt=\"Still from 'Basic Instinct.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12600355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-520x293.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Basic Instinct.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While that may or may not have been the motivation for Midnites for Maniacs impresario Jesse Hawthorne Ficks to compile \u003ca href=\"http://www.midnitesformaniacs.com\" target=\"_blank\" rel=\"noopener\">A Genuine Tribute to the Films of Paul Verhoeven\u003c/a>, screening at the \u003ca href=\"http://www.roxie.com/genuine-tribute-paul-verhoeven-weekend/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> Friday through Sunday, Jan. 13–15, I do know that Ficks is a master of discerning and interpreting the underlying social commentary in broad mainstream movies. \u003c/p>\n\u003cfigure id=\"attachment_12600356\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Showgirls.png\" alt=\"Still from 'Showgirls.'\" width=\"1200\" height=\"674\" class=\"size-full wp-image-12600356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-520x292.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Showgirls.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And there’s plenty to unpack in Friday’s double bill of \u003cem>Total Recall\u003c/em> and \u003cem>Basic Instinct\u003c/em> (which provoked protests both while it was shooting in San Francisco in 1991 and after it opened), Saturday’s triple feature of \u003cem>Robocop\u003c/em>, \u003cem>Showgirls\u003c/em> and a surprise early Verhoeven title and Sunday’s pairing of \u003cem>Spetters\u003c/em> (ditto, 1980) and \u003cem>Starship Troopers\u003c/em>.\u003c/p>\n\u003cp>Verhoeven’s movies combine bravado and bravery in ways that can be annoying as well as exhilarating, but they’re never boring. Let’s just call him a thinking person’s pulp filmmaker, and leave it at that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Dutch director Paul Verhoeven is a practiced provocateur, that’s certain. The perennial question, though, is whether he’s a purveyor of glossy exploitation films or a sly social satirist. His button-pushing French-language hit, \u003cem>Elle\u003c/em>, lends itself to both readings, even if (like me) you credit the film as a study of a woman of a certain age (a cruelly kind Isabelle Huppert) grappling with her evolving — though not waning — sexual power.\u003c/p>\n\u003cp>This is an excellent time to revisit and reconsider Verhoeven’s oeuvre, as it’s likely that enormous pressure will be brought to bear in the coming weeks, months and years against outspoken, over-the-top cultural statements. \u003c/p>\n\u003cfigure id=\"attachment_12600355\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/BasicInstinct.png\" alt=\"Still from 'Basic Instinct.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12600355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/BasicInstinct-520x293.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Basic Instinct.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While that may or may not have been the motivation for Midnites for Maniacs impresario Jesse Hawthorne Ficks to compile \u003ca href=\"http://www.midnitesformaniacs.com\" target=\"_blank\" rel=\"noopener\">A Genuine Tribute to the Films of Paul Verhoeven\u003c/a>, screening at the \u003ca href=\"http://www.roxie.com/genuine-tribute-paul-verhoeven-weekend/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> Friday through Sunday, Jan. 13–15, I do know that Ficks is a master of discerning and interpreting the underlying social commentary in broad mainstream movies. \u003c/p>\n\u003cfigure id=\"attachment_12600356\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Showgirls.png\" alt=\"Still from 'Showgirls.'\" width=\"1200\" height=\"674\" class=\"size-full wp-image-12600356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Showgirls-520x292.png 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Showgirls.’ \u003ccite>(Courtesy of Midnites for Maniacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And there’s plenty to unpack in Friday’s double bill of \u003cem>Total Recall\u003c/em> and \u003cem>Basic Instinct\u003c/em> (which provoked protests both while it was shooting in San Francisco in 1991 and after it opened), Saturday’s triple feature of \u003cem>Robocop\u003c/em>, \u003cem>Showgirls\u003c/em> and a surprise early Verhoeven title and Sunday’s pairing of \u003cem>Spetters\u003c/em> (ditto, 1980) and \u003cem>Starship Troopers\u003c/em>.\u003c/p>\n\u003cp>Verhoeven’s movies combine bravado and bravery in ways that can be annoying as well as exhilarating, but they’re never boring. Let’s just call him a thinking person’s pulp filmmaker, and leave it at that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sex And Death, Shot Through A Colorful Lens: Almodovar's 'Julieta'",
"headTitle": "Sex And Death, Shot Through A Colorful Lens: Almodovar’s ‘Julieta’ | KQED",
"content": "\u003cp>One way or another, every Pedro Almodovar film is all about his mothers, real or imagined. His latest, \u003cem>Julieta\u003c/em>, marks a return to form for all who love to take a bath in his crimson maternal melodramas. Still, it’s a quieter, more inward film, less inclined to broad winks at the audience than, say, \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>, \u003cem>Talk to Her\u003c/em>, or even \u003cem>All About My Mother\u003c/em>. The mood is intense but consistently somber and introspective, perhaps because \u003cem>Julieta\u003c/em> was inspired by three stories from \u003cem>Runaway\u003c/em>, a collection by the great Canadian writer Alice Munro.\u003c/p>\n\u003cp>Munro and Almodovar make an odd couple on paper, but the Spanish director draws out a staple of Munro’s writing that’s often overlooked in her measured prose and provincial landscapes: She routinely springs horror and violence on the stymied women who wriggle under her microscope. Munro may occasionally even be too much for Almodovar — for him to take a pass on replicating a burning body in Munro’s masterful key story, \u003cem>Silence\u003c/em>, must count either as unwonted self-restraint or a mischievous shot across the bows of his own excess.\u003c/p>\n\u003cp>https://youtu.be/yoi4dbpqZmg\u003c/p>\n\u003cp>\u003cem>Julieta\u003c/em>‘s dramatic trigger — the sudden, apparently willful disappearance of a hitherto dutiful daughter — is enough to strike terror in the heart of any parent. We meet Julieta (Emma Suarez), a middle-aged Madrid widow who, after years spent alternating between rage and mourning over the disappearance of her beloved daughter Antia (played as a child by Priscilla Delgado and a young adult by Blanca Pares) from a remote spiritual retreat, is about to start a new life with her supportive lover (Dario Grandinetti). A chance meeting with her daughter’s former best friend Beatriz (Michelle Jenner), who brings news that Antia now lives not far away, is enough for Julieta to put her future on hold. Returning alone to the apartment building where mother and daughter once lived, she relives a traumatic past in a self-incriminating journal addressed to the absent Antia.\u003c/p>\n\u003cp>The journal carries us back to a 1980s nocturnal train journey that nods vigorously to Hitchcock and proves fateful for young Julieta (Adriana Ugarte), who’s fetchingly clad in a blinding blue mini-skirt and a blond shag that sets off her alluring dark eyes. Carnal interchange ensues with a similarly mop-headed stranger (Daniel Grao), followed by a tragic death at Julieta’s new home overlooking a roiling ocean. Are sex and death connected? All I can confirm is the flared-nostril appearance of a prototypical Mrs. Danvers-esque housekeeper played by longtime Almodovar collaborator Rossy de Palma. Then again, she may be a red herring, along with Julieta’s sultry friend Ava (Inma Cuesta), a sculptor of erotic male figures who dials up the sensual temperature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Julieta\u003c/em> is entirely self-sufficient; you don’t have to have read Munro to get the picture, or to revel in the movie’s brilliant colors and full-heartedly florid storytelling. But for those who love both Munro and Almodovar, there’s meat here in the relative pleasures of reading and watching. Munro writes stark prose in blues and greys; Almodovar pumps up the volume with breathy dialogue, bathing his beleaguered women in brilliant vermilions and electric blues. For Munro, the internal drama is paramount; her subject is the sustained terror of living with uncertainty. She’s a lower-case Calvinist, if you like, to Almodovar’s upper-case Catholic. His women are always onstage even in their thoughts, and always players in a Greek tragedy, always beset by a crippling guilt that spreads from one woman to the next, each mulling her failures as a woman, a mother, a friend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In Munro’s \u003cem>Silence\u003c/em>, Juliet is a television interviewer famed for her insight into character, yet unable to parse her own or her daughter’s psyche. Julieta is a teacher of classics who’s thoroughly versed in Greek tragedy, yet fails to comprehend her own drama. Munro revels in the opacity of cause and consequence; Almodovar doffs his cap to uncertainty while repackaging it to hint at closure. To the end, Julieta seeks in vain the clarity of explanation, and Almodovar, a kindlier, more sentimental god than Munro when it comes to his beloved women, bestows on her — and on us — an eleventh-hour gift that’s almost as good.\u003c/p>\n\n",
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"excerpt": "Pedro Almodovar brings his lush visual exuberance to this adaptation of three Alice Munro stories marked by spare, interior struggles. The odd fusion results in a surprisingly quiet, somber film.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One way or another, every Pedro Almodovar film is all about his mothers, real or imagined. His latest, \u003cem>Julieta\u003c/em>, marks a return to form for all who love to take a bath in his crimson maternal melodramas. Still, it’s a quieter, more inward film, less inclined to broad winks at the audience than, say, \u003cem>Women on the Verge of a Nervous Breakdown\u003c/em>, \u003cem>Talk to Her\u003c/em>, or even \u003cem>All About My Mother\u003c/em>. The mood is intense but consistently somber and introspective, perhaps because \u003cem>Julieta\u003c/em> was inspired by three stories from \u003cem>Runaway\u003c/em>, a collection by the great Canadian writer Alice Munro.\u003c/p>\n\u003cp>Munro and Almodovar make an odd couple on paper, but the Spanish director draws out a staple of Munro’s writing that’s often overlooked in her measured prose and provincial landscapes: She routinely springs horror and violence on the stymied women who wriggle under her microscope. Munro may occasionally even be too much for Almodovar — for him to take a pass on replicating a burning body in Munro’s masterful key story, \u003cem>Silence\u003c/em>, must count either as unwonted self-restraint or a mischievous shot across the bows of his own excess.\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/yoi4dbpqZmg'\n title='//www.youtube.com/embed/yoi4dbpqZmg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Julieta\u003c/em>‘s dramatic trigger — the sudden, apparently willful disappearance of a hitherto dutiful daughter — is enough to strike terror in the heart of any parent. We meet Julieta (Emma Suarez), a middle-aged Madrid widow who, after years spent alternating between rage and mourning over the disappearance of her beloved daughter Antia (played as a child by Priscilla Delgado and a young adult by Blanca Pares) from a remote spiritual retreat, is about to start a new life with her supportive lover (Dario Grandinetti). A chance meeting with her daughter’s former best friend Beatriz (Michelle Jenner), who brings news that Antia now lives not far away, is enough for Julieta to put her future on hold. Returning alone to the apartment building where mother and daughter once lived, she relives a traumatic past in a self-incriminating journal addressed to the absent Antia.\u003c/p>\n\u003cp>The journal carries us back to a 1980s nocturnal train journey that nods vigorously to Hitchcock and proves fateful for young Julieta (Adriana Ugarte), who’s fetchingly clad in a blinding blue mini-skirt and a blond shag that sets off her alluring dark eyes. Carnal interchange ensues with a similarly mop-headed stranger (Daniel Grao), followed by a tragic death at Julieta’s new home overlooking a roiling ocean. Are sex and death connected? All I can confirm is the flared-nostril appearance of a prototypical Mrs. Danvers-esque housekeeper played by longtime Almodovar collaborator Rossy de Palma. Then again, she may be a red herring, along with Julieta’s sultry friend Ava (Inma Cuesta), a sculptor of erotic male figures who dials up the sensual temperature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Julieta\u003c/em> is entirely self-sufficient; you don’t have to have read Munro to get the picture, or to revel in the movie’s brilliant colors and full-heartedly florid storytelling. But for those who love both Munro and Almodovar, there’s meat here in the relative pleasures of reading and watching. Munro writes stark prose in blues and greys; Almodovar pumps up the volume with breathy dialogue, bathing his beleaguered women in brilliant vermilions and electric blues. For Munro, the internal drama is paramount; her subject is the sustained terror of living with uncertainty. She’s a lower-case Calvinist, if you like, to Almodovar’s upper-case Catholic. His women are always onstage even in their thoughts, and always players in a Greek tragedy, always beset by a crippling guilt that spreads from one woman to the next, each mulling her failures as a woman, a mother, a friend.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In Munro’s \u003cem>Silence\u003c/em>, Juliet is a television interviewer famed for her insight into character, yet unable to parse her own or her daughter’s psyche. Julieta is a teacher of classics who’s thoroughly versed in Greek tragedy, yet fails to comprehend her own drama. Munro revels in the opacity of cause and consequence; Almodovar doffs his cap to uncertainty while repackaging it to hint at closure. To the end, Julieta seeks in vain the clarity of explanation, and Almodovar, a kindlier, more sentimental god than Munro when it comes to his beloved women, bestows on her — and on us — an eleventh-hour gift that’s almost as good.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Behind every great director is a great cinematographer. In the case of \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/glory-days/\" rel=\"noopener\">Glory Days\u003c/a>\u003c/em>, the latest online release from \u003cem>Film School Shorts\u003c/em> and one of Season 4’s most poignant films, the director, \u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/filmmakers/benjamin-rutkowski/\" rel=\"noopener\">Benjamin Rutkowski\u003c/a>, is also the cinematographer.\u003c/p>\n\u003cdiv>\n\u003cp>Benjamin Rutkowski on the ‘Glory Days’ set.\u003c/p>\n\u003c/div>\n\u003cp>Since graduating from NYU’s MFA \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/01/03/behind-the-camera-with-benjamin-rutkowski-director-of-glory-days/\" target=\"_blank\" title=\"Behind the Camera with Benjamin Rutkowski, Director of ‘Glory Days’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Now Playing! Around the World in 15 Films at Smith Rafael Film Center",
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"content": "\u003cp>If your New Year’s resolution is to travel more, but your schedule or finances require you to delay takeoff for a few months, whet your appetite with \u003ca href=\"http://rafaelfilm.cafilm.org/for-your-consideration-2017/\" target=\"_blank\" rel=\"noopener\">For Your Consideration: A Selection of Oscar Submissions from Around the World\u003c/a>. \u003c/p>\n\u003cp>The Smith Rafael Film Center’s annual selection from the dozens of films placed in competition for the Academy Award for Best Foreign Language Film packs 15 movies into a single week beginning this Friday, Jan. 6.\u003c/p>\n\u003cfigure id=\"attachment_12567321\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julieta.jpg\" alt=\"Still from 'Julieta.'\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-12567321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-520x347.jpg 520w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Julieta.’ \u003ccite>(Courtesy of Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup includes familiar titles like Almodovar’s \u003cem>Julieta\u003c/em> and the meditative Italian snapshot of the refugee crisis, \u003cem>Fire at Sea\u003c/em>, as well as four — \u003cem>Tanna\u003c/em>, \u003cem>Land of Mine\u003c/em>, \u003cem>Toni Erdmann\u003c/em> and \u003cem>Paradise\u003c/em> — of the nine shortlisted films in the running for the gold statuette. (Nominations in all categories will be announced in the early morning of Jan. 24.)\u003c/p>\n\u003cp>It’s usually a good idea with any series or festival to sidestep the high-profile titles and focus on the films that may never play the Bay Area again. The moody black-and-white drama \u003cem>Letters from War\u003c/em> (Sunday, Jan. 8) draws on the introspective correspondence of a Portuguese medic dispatched to Angola in the early ‘70s. \u003c/p>\n\u003cfigure id=\"attachment_12567508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Tanna1200.jpg\" alt=\"Still from 'Tanna.'\" width=\"1200\" height=\"774\" class=\"size-full wp-image-12567508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-1020x658.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-1180x761.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-960x619.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-520x335.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tanna.’ \u003ccite>(Courtesy of Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Min Bahadur Bham’s autobiographical debut feature, \u003cem>The Black Hen\u003c/em> (also Sunday), was inspired by the filmmaker’s childhood in northern Nepal. The social-injustice melodrama \u003cem>I Am Nojoon, Age 10 and Divorced\u003c/em> (Tuesday, Jan. 10), from Yemen, is an even more harrowing saga of vulnerable youth. Also worth a mention is \u003cem>A Flickering Truth\u003c/em>, the new documentary from New Zealand maker Pietra Brettkelly (\u003cem>The Art Star and the Sudanese Twins\u003c/em>) that resurrects pre-Taliban Afghanistan through damaged, rescued film footage. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you received a windfall — and extra vacation — while you were reading this, the Palm Springs International Film Festival (Jan. 3-15) is showing more than 40 of the 85 foreign language submissions. Pack light.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If your New Year’s resolution is to travel more, but your schedule or finances require you to delay takeoff for a few months, whet your appetite with \u003ca href=\"http://rafaelfilm.cafilm.org/for-your-consideration-2017/\" target=\"_blank\" rel=\"noopener\">For Your Consideration: A Selection of Oscar Submissions from Around the World\u003c/a>. \u003c/p>\n\u003cp>The Smith Rafael Film Center’s annual selection from the dozens of films placed in competition for the Academy Award for Best Foreign Language Film packs 15 movies into a single week beginning this Friday, Jan. 6.\u003c/p>\n\u003cfigure id=\"attachment_12567321\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julieta.jpg\" alt=\"Still from 'Julieta.'\" width=\"1800\" height=\"1200\" class=\"size-full wp-image-12567321\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julieta-520x347.jpg 520w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Julieta.’ \u003ccite>(Courtesy of Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lineup includes familiar titles like Almodovar’s \u003cem>Julieta\u003c/em> and the meditative Italian snapshot of the refugee crisis, \u003cem>Fire at Sea\u003c/em>, as well as four — \u003cem>Tanna\u003c/em>, \u003cem>Land of Mine\u003c/em>, \u003cem>Toni Erdmann\u003c/em> and \u003cem>Paradise\u003c/em> — of the nine shortlisted films in the running for the gold statuette. (Nominations in all categories will be announced in the early morning of Jan. 24.)\u003c/p>\n\u003cp>It’s usually a good idea with any series or festival to sidestep the high-profile titles and focus on the films that may never play the Bay Area again. The moody black-and-white drama \u003cem>Letters from War\u003c/em> (Sunday, Jan. 8) draws on the introspective correspondence of a Portuguese medic dispatched to Angola in the early ‘70s. \u003c/p>\n\u003cfigure id=\"attachment_12567508\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Tanna1200.jpg\" alt=\"Still from 'Tanna.'\" width=\"1200\" height=\"774\" class=\"size-full wp-image-12567508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-1020x658.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-1180x761.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-960x619.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Tanna1200-520x335.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Tanna.’ \u003ccite>(Courtesy of Smith Rafael Film Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Min Bahadur Bham’s autobiographical debut feature, \u003cem>The Black Hen\u003c/em> (also Sunday), was inspired by the filmmaker’s childhood in northern Nepal. The social-injustice melodrama \u003cem>I Am Nojoon, Age 10 and Divorced\u003c/em> (Tuesday, Jan. 10), from Yemen, is an even more harrowing saga of vulnerable youth. Also worth a mention is \u003cem>A Flickering Truth\u003c/em>, the new documentary from New Zealand maker Pietra Brettkelly (\u003cem>The Art Star and the Sudanese Twins\u003c/em>) that resurrects pre-Taliban Afghanistan through damaged, rescued film footage. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Carrie Fisher, the actress who became a pop culture icon for her performance as Princess Leia in \u003cem>Star Wars, \u003c/em>has died at age 60.\u003c/p>\n\u003cp>Fisher had suffered a massive heart attack last week on a flight from London to Los Angeles. On Sunday, her family said she was in stable condition.\u003c/p>\n\u003cp>[contextly_sidebar id=”HdET9py3QPXa92bYSG2wy8sT9dwsMWbT”]\u003c/p>\n\u003cp>A representative of Fisher’s daughter, Bille Lourd, confirmed that Fisher died on Tuesday morning.\u003c/p>\n\u003cp>Fisher shot to fame at the age of 19, when she took on her instantly iconic role in \u003cem>Star Wars. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Leia Organa, she seemed to be taking on the role of damsel in distress — appearing as a hologram begging for help. But she was no helpless heroine: Princess Leia was an indomitable, independent rebel leader.\u003c/p>\n\u003cp>When the \u003cem>Star Wars \u003c/em>franchise returned last year in \u003cem>The Force Awakens, \u003c/em>Fisher’s role reflected the strength she’d always given her character: Princess Leia was now General Organa.\u003c/p>\n\u003cp>But it was her appearance in the original films that cemented Fisher’s status as a pop culture icon. Her legendary role came with instantly-recognizable outfits: Those cinnamon-roll braids; that drapey white dress; and, of course, that famous gold bikini.\u003c/p>\n\u003cp>A few weeks ago, she spoke with Terry Gross about that uncomfortable-looking out she wore while Princess Leia was enslaved by Jabba the Hutt in \u003cem>Return of the Jedi.\u003c/em>\u003c/p>\n\u003cp>“Nearly naked” was not her preferred aesthetic, she said. “It wasn’t my choice … it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight.\u003c/p>\n\u003cp>“What redeems it is I get to kill him, which was so enjoyable. … I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn’t wait to kill him.”\u003c/p>\n\u003cp>In the popular imagination, Fisher was inextricably tied to that most famous role. But her life, of course, was much larger.\u003c/p>\n\u003cp>She was a writer of both memoirs and novels — her first book, the semi-autobiographical \u003cem>Postcards from the Edge, \u003c/em>was a bit of both. \u003c/p>\n\u003cp>Carrie Fisher shared her approach to life in her 2008 HBO special \u003cem>Wishful Drinking.\u003c/em>\u003c/p>\n\u003cp>“Let’s say something happens, right, and from a certain slant maybe it’s tragic, even a little bit shocking,” she said. “And then time passes, and you go to the funny slant, and now that very same thing can no longer do you any harm.”\u003c/p>\n\u003cp>As Andrew reports, Fisher lived by that wisdom.\u003c/p>\n\u003cp>“She was born in 1956 to two huge stars — the singer Eddie Fisher and award winning actress Debbie Reynolds,” Andrew says. “From a certain slant being born to two famous people — who ended up famously divorcing — can be tragic. Time passes, and it has to be funny.”\u003c/p>\n\u003cp>Fisher was “out and open about her issues with drugs and alcohol, and mental illness and treatment,” Andrew notes. “She told NPR’s \u003cem>Fresh Air\u003c/em> that getting all of this out there and speaking about the baggage was a way for her to understand herself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It creates community when you talk about private things and you can find other people that have the same things,” Fisher told Terry Gross. “Otherwise I felt very lonely with some of the issues that I had.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carrie+Fisher%2C+Actress+Beloved+For+Playing+Princess+Leia%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Leia Organa, she seemed to be taking on the role of damsel in distress — appearing as a hologram begging for help. But she was no helpless heroine: Princess Leia was an indomitable, independent rebel leader.\u003c/p>\n\u003cp>When the \u003cem>Star Wars \u003c/em>franchise returned last year in \u003cem>The Force Awakens, \u003c/em>Fisher’s role reflected the strength she’d always given her character: Princess Leia was now General Organa.\u003c/p>\n\u003cp>But it was her appearance in the original films that cemented Fisher’s status as a pop culture icon. Her legendary role came with instantly-recognizable outfits: Those cinnamon-roll braids; that drapey white dress; and, of course, that famous gold bikini.\u003c/p>\n\u003cp>A few weeks ago, she spoke with Terry Gross about that uncomfortable-looking out she wore while Princess Leia was enslaved by Jabba the Hutt in \u003cem>Return of the Jedi.\u003c/em>\u003c/p>\n\u003cp>“Nearly naked” was not her preferred aesthetic, she said. “It wasn’t my choice … it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight.\u003c/p>\n\u003cp>“What redeems it is I get to kill him, which was so enjoyable. … I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn’t wait to kill him.”\u003c/p>\n\u003cp>In the popular imagination, Fisher was inextricably tied to that most famous role. But her life, of course, was much larger.\u003c/p>\n\u003cp>She was a writer of both memoirs and novels — her first book, the semi-autobiographical \u003cem>Postcards from the Edge, \u003c/em>was a bit of both. \u003c/p>\n\u003cp>Carrie Fisher shared her approach to life in her 2008 HBO special \u003cem>Wishful Drinking.\u003c/em>\u003c/p>\n\u003cp>“Let’s say something happens, right, and from a certain slant maybe it’s tragic, even a little bit shocking,” she said. “And then time passes, and you go to the funny slant, and now that very same thing can no longer do you any harm.”\u003c/p>\n\u003cp>As Andrew reports, Fisher lived by that wisdom.\u003c/p>\n\u003cp>“She was born in 1956 to two huge stars — the singer Eddie Fisher and award winning actress Debbie Reynolds,” Andrew says. “From a certain slant being born to two famous people — who ended up famously divorcing — can be tragic. Time passes, and it has to be funny.”\u003c/p>\n\u003cp>Fisher was “out and open about her issues with drugs and alcohol, and mental illness and treatment,” Andrew notes. “She told NPR’s \u003cem>Fresh Air\u003c/em> that getting all of this out there and speaking about the baggage was a way for her to understand herself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It creates community when you talk about private things and you can find other people that have the same things,” Fisher told Terry Gross. “Otherwise I felt very lonely with some of the issues that I had.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carrie+Fisher%2C+Actress+Beloved+For+Playing+Princess+Leia%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>C\u003ca href=\"https://en.wikipedia.org/wiki/Children_of_Paradise\" target=\"_blank\" rel=\"noopener\">hildren of Paradise\u003c/a>\u003c/em> is something of a year-end tradition, but Marcel Carné’s miraculous masterpiece about love and performance (on- \u003cem>and\u003c/em> off-stage) isn’t screening hereabouts. We turn to another Marcel, the playwright-cum-filmmaker Pagnol, for a restorative three-course meal of Marseilles mores, moral conundrums and melodrama. \u003c/p>\n\u003cp>Restorative because \u003cem>Marius\u003c/em>, \u003cem>Fanny\u003c/em> and \u003cem>César\u003c/em>, which arthouse veterans refer to as the Fanny Trilogy, presents its cross-generational saga of everyday, compromise-filled reality with unfailing compassion, generosity and sardonic humor. These 1930s movies work as a reassuring antidote to shaken faith in our fellow man, as well as a bracing aperitif for a clean-slate New Year. Somehow, both seem exceptionally necessary at this juncture.\u003c/p>\n\u003cfigure id=\"attachment_12516609\" class=\"wp-caption aligncenter\" style=\"max-width: 1312px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Fanny3.jpg\" alt=\"Still from 'César.'\" width=\"1312\" height=\"976\" class=\"size-full wp-image-12516609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3.jpg 1312w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-520x387.jpg 520w\" sizes=\"(max-width: 1312px) 100vw, 1312px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘César.’ \u003ccite>(Courtesy Janus Films/BAMPFA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pagnol’s trio, which screens separately this Wednesday, Thursday, and Friday (Dec. 27-29) in new digital restorations at \u003ca href=\"http://www.bampfa.berkeley.edu/program/world-trilogies-pagnols-fanny-trilogy\" target=\"_blank\" rel=\"noopener\">BAMPFA\u003c/a>, unfolds in and around César’s bar on the dock of the port. \u003c/p>\n\u003cp>\u003cem>Marius\u003c/em> introduces us to the proprietor’s son (played by Pierre Fresnay), who secretly dreams of ditching the washrag and joining the crew of a three-master bound for exotic, far-off places. But he can’t bring himself to tell César (Raimu) or Fanny (Orane Demazis), his close friend since childhood and whose only dream is to marry Marius. The bouillabaisse thickens when Panisse (Fernand Charpin), a middle-aged widower, proposes to Fanny. I wouldn’t think of telling you more, except that \u003cem>Fanny\u003c/em> and \u003cem>César\u003c/em> follow the characters into thornier and even more poignant thickets.\u003c/p>\n\u003cfigure id=\"attachment_12538058\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Fanny1200.jpg\" alt=\"Still from 'Fanny.'\" width=\"1200\" height=\"881\" class=\"size-full wp-image-12538058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-960x705.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny1200-520x382.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Fanny.’ \u003ccite>(Courtesy of Janus Films/BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The staging and acting throughout the saga are theatrical more than cinematic, but the insightful writing and heart-on-sleeve performances transform the artifice into flesh-and-blood life. If further incentive is needed, chef and author Alice Waters will introduce all three screenings. You see, after discovering the trilogy at the Pacific Film Archive in the 1970s, Waters named her pioneering restaurant Chez Panisse. And there’s your Bay Area history \u003cem>du jour\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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Somehow, both seem exceptionally necessary at this juncture.\u003c/p>\n\u003cfigure id=\"attachment_12516609\" class=\"wp-caption aligncenter\" style=\"max-width: 1312px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Fanny3.jpg\" alt=\"Still from 'César.'\" width=\"1312\" height=\"976\" class=\"size-full wp-image-12516609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3.jpg 1312w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-1180x878.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-960x714.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-375x279.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Fanny3-520x387.jpg 520w\" sizes=\"(max-width: 1312px) 100vw, 1312px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘César.’ \u003ccite>(Courtesy Janus Films/BAMPFA.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pagnol’s trio, which screens separately this Wednesday, Thursday, and Friday (Dec. 27-29) in new digital restorations at \u003ca href=\"http://www.bampfa.berkeley.edu/program/world-trilogies-pagnols-fanny-trilogy\" target=\"_blank\" rel=\"noopener\">BAMPFA\u003c/a>, unfolds in and around César’s bar on the dock of the port. \u003c/p>\n\u003cp>\u003cem>Marius\u003c/em> introduces us to the proprietor’s son (played by Pierre Fresnay), who secretly dreams of ditching the washrag and joining the crew of a three-master bound for exotic, far-off places. 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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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