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"content": "\u003cp>\u003cem>Film School Shorts\u003c/em> is proud to premiere \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/tin/\" rel=\"noopener\">Tin\u003c/a>\u003c/em>, a bittersweet stop-motion short by Brandon Lake set to a jazz soundtrack.\u003c/p>\n\u003cp>Since graduating from USC, Lake spent time at \u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/\" rel=\"noopener\">Stoopid Buddy Stoodios\u003c/a> working on shows like the Emmy Award-winning \u003cem>\u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/work/featured/robot-chicken-award-winning-series/\" rel=\"noopener\">Robot Chicken\u003c/a> \u003c/em>and \u003cem>\u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/work/featured/supermansion-crackle-and-sony-pictures-entertainment/supermansion-trailer/\" rel=\"noopener\">SuperMansion\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Check it out!\u003c/p>\n\u003cdiv><iframe src=\"//cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fplayer.vimeo.com%2Fvideo%2F173661927&url=https%3A%2F%2Fvimeo.com%2F173661927&image=https%3A%2F%2Fi.vimeocdn.com%2Fvideo%2F584457438_1280.jpg&key=981697b3caaa4776a9e96c1890128d7f&type=text%2Fhtml&schema=vimeo\" width=\"580\" height=\"326\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/01/kick-off-black-history-month-with-the-stop-motion-short-tin/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/01/kick-off-black-history-month-with-the-stop-motion-short-tin/\" target=\"_blank\" title=\"Kick Off Black History Month with the Stop-Motion Short ‘Tin’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003c/div>\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>\u003cem>Film School Shorts\u003c/em> is proud to premiere \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/tin/\" rel=\"noopener\">Tin\u003c/a>\u003c/em>, a bittersweet stop-motion short by Brandon Lake set to a jazz soundtrack.\u003c/p>\n\u003cp>Since graduating from USC, Lake spent time at \u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/\" rel=\"noopener\">Stoopid Buddy Stoodios\u003c/a> working on shows like the Emmy Award-winning \u003cem>\u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/work/featured/robot-chicken-award-winning-series/\" rel=\"noopener\">Robot Chicken\u003c/a> \u003c/em>and \u003cem>\u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/work/featured/supermansion-crackle-and-sony-pictures-entertainment/supermansion-trailer/\" rel=\"noopener\">SuperMansion\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Check it out!\u003c/p>\n\u003cdiv><iframe src="//cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fplayer.vimeo.com%2Fvideo%2F173661927&url=https%3A%2F%2Fvimeo.com%2F173661927&image=https%3A%2F%2Fi.vimeocdn.com%2Fvideo%2F584457438_1280.jpg&key=981697b3caaa4776a9e96c1890128d7f&type=text%2Fhtml&schema=vimeo" width="580" height="326" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/01/kick-off-black-history-month-with-the-stop-motion-short-tin/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"description": "Film School Shorts is proud to premiere Tin, a bittersweet stop-motion short by Brandon Lake set to a jazz soundtrack.\nSince graduating from USC, Lake spent time at Stoopid Buddy Stoodios working on shows like the Emmy Award-winning Robot Chicken and SuperMansion.\nCheck it out!\n<iframe src="//cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fplayer.vimeo.com%2Fvideo%2F173661927&url=https%3A%2F%2Fvimeo.com%2F173661927&image=https%3A%2F%2Fi.vimeocdn.com%2Fvideo%2F584457438_1280.jpg&key=981697b3caaa4776a9e96c1890128d7f&type=text%2Fhtml&schema=vimeo" width="580" height="326" ...read more",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Film School Shorts\u003c/em> is proud to premiere \u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/tin/\" rel=\"noopener\">Tin\u003c/a>\u003c/em>, a bittersweet stop-motion short by Brandon Lake set to a jazz soundtrack.\u003c/p>\n\u003cp>Since graduating from USC, Lake spent time at \u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/\" rel=\"noopener\">Stoopid Buddy Stoodios\u003c/a> working on shows like the Emmy Award-winning \u003cem>\u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/work/featured/robot-chicken-award-winning-series/\" rel=\"noopener\">Robot Chicken\u003c/a> \u003c/em>and \u003cem>\u003ca target=\"_blank\" href=\"http://www.leagueofbuddies.com/work/featured/supermansion-crackle-and-sony-pictures-entertainment/supermansion-trailer/\" rel=\"noopener\">SuperMansion\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Check it out!\u003c/p>\n\u003cdiv><iframe src=\"//cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fplayer.vimeo.com%2Fvideo%2F173661927&url=https%3A%2F%2Fvimeo.com%2F173661927&image=https%3A%2F%2Fi.vimeocdn.com%2Fvideo%2F584457438_1280.jpg&key=981697b3caaa4776a9e96c1890128d7f&type=text%2Fhtml&schema=vimeo\" width=\"580\" height=\"326\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/01/kick-off-black-history-month-with-the-stop-motion-short-tin/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2017/02/01/kick-off-black-history-month-with-the-stop-motion-short-tin/\" target=\"_blank\" title=\"Kick Off Black History Month with the Stop-Motion Short ‘Tin’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Lola Kirke Just Found Out How the World Punishes Confident Women",
"title": "Lola Kirke Just Found Out How the World Punishes Confident Women",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003ca href=\"https://www.instagram.com/lolakirke/?hl=en\">Lola Kirke\u003c/a> isn't a household name yet. Despite roles in \u003ca href=\"http://www.imdb.com/title/tt2267998/?ref_=nv_sr_1\">\u003cem>Gone Girl\u003c/em>\u003c/a> and Noah Baumbach's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt2872462/?ref_=nv_sr_1\">Mistress America,\u003c/a> \u003c/em>most know her as the younger sister of\u003cem> \u003c/em>\u003ca href=\"http://www.imdb.com/name/nm3733434/\">Jemima Kirke\u003c/a>, who plays Jessa in \u003ca href=\"http://www.imdb.com/title/tt1723816/?ref_=fn_al_tt_1\">\u003cem>Girls\u003c/em>\u003c/a>. But a slew of movies coming out this year -- including \u003ca href=\"http://www.imdb.com/title/tt3532216/?ref_=nm_flmg_act_2\">\u003cem>American Made\u003c/em>\u003c/a>, alongside \u003ca href=\"https://ww2.kqed.org/pop/2017/01/10/why-dont-exposes-about-the-inner-workings-of-scientology-hurt-tom-cruises-career/\">Tom Cruise\u003c/a> -- mean that Lola Kirke is probably enjoying the last gasps of relative anonymity.\u003c/p>\n\u003cp>A few weeks ago, however, Kirke got a taste of the insanity that comes with being a human in the limelight, after she Instagrammed an \u003ca href=\"https://www.instagram.com/p/BPBJC9zhu0o/?taken-by=lolakirke&hl=en\">eight-second video of herself\u003c/a> casually dancing to Carly Simon, resplendent in nothing but flesh-colored underwear, dangly earrings and high heels, with the caption \"Red carpet ready!\" It was a video shot before the actress attended this year's \u003ca href=\"https://ww2.kqed.org/pop/2017/01/09/the-very-best-gifs-from-the-2017-golden-globes/\">Golden Globes\u003c/a>, and it captured the excitement and joy of the moment for a young star who is still thrilled to be invited to such events.\u003c/p>\n\u003cp>[contextly_sidebar id=\"1qNtm5cdJMx4heH5oA5RxfiD4JU6xp7n\"]\u003c/p>\n\u003cp>It's important to note that Lola Kirke has, at the time of writing, 28k followers on Instagram. The photo of her \u003ca href=\"https://www.instagram.com/p/BPBmafzBdk8/?taken-by=lolakirke&hl=en\">actually on the red carpet\u003c/a> later that night is a pretty solid representation of what usually happens on her page -- 5,640 likes, 339 comments. By comparison, the underwear video garnered a whopping 3 million views and 1,500 comments. Her caption attached to the aforementioned red carpet pic succinctly explains why: \"Thanks to all you beautiful people who didn't send me death threats on account of my #awesome #hairyarmpits!\"\u003c/p>\n\u003cp>To read through all 1,500 comments under Lola's underwear video is to experience everything bad that happens to people on social media in one handily condensed and unedited nightmare spiral -- not to mention how gender roles influence how we humans look at each other and interact in real life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the surface, the outrage at Lola's video does seem entirely based in disgust at her unshaven armpits. In one comment thread, she is called \"ugly,\" \"nasty,\" and \"bitch\" so many times that counting each instance becomes a Herculean task. Kirke is also repeatedly referred to as \"slutty,\" \"gross,\" \"hoe,\" \"disgusting,\" and \"unhygienic.\" The emoji with the closed eyes and the surgical face shield is used hundreds of times.\u003c/p>\n\u003cp>Interrupting this endless tirade of insults are supporters, desperate to remind Lola that she is \"beautiful\" and \"awesome,\" but the hate just keeps coming at a rate that demonstrates that this isn't just about one moderately famous woman's underarms.\u003c/p>\n\u003cp>The men leaving insults on the thread mostly make it about them. @triggeredredmemes says: \"I don’t want a bitch that won’t shave in bed with me.\" @anthony_ramirez.24 says: \"I wish I didn’t see this.\" @just_finding_nemo says: \"I don’t understand why some women don’t shave their armpits.\" @xx_.king._xx says: \"it’s different on a dude but you bring a female in the picture that look decent then got hairy ass armpits that sh-t ain’t adding up. plus idk a dude that like that on there girl.\" And @tiamobieber seems to feel threatened by having a woman embrace something that he believes is a male privilege: \"Disgusting! YOU ARE A WOMEN NOT A MAN.\"\u003c/p>\n\u003cp>Then there are the men who think this must be a publicity stunt, for no right-thinking woman would ever willingly leave hair on her body without real (financial?) motivation to do so. @Mohragabfans says: \"Clearly she doesn’t have a career. Nobody is paying her any mind. So, she figured. Growing my disgusting armpit hair will get my whack ass self on some headlines (which happened) but don’t forget, she did that all to grab the medias attention. It’s sad to be this desperate and thirsty.\" @Joshsa7 agrees: \"I love her but she is so badly trying to prove a point by not shaving its unbecoming.\"\u003c/p>\n\u003cp>Interestingly, the women expressing outrage make it about their own idea of feminine roles, which, in turn, often reveal some serious, internalized misogyny. Some have strange notions about the dangers of armpit hair for women like @lizre, who states: \"If you people don’t like to shower, shave, brush your teeth etc. Fine but the truth is that it is disgusting without hygiene people can get sick.\"\u003c/p>\n\u003cp>Then there's anti-underwear police like @solas_one, who says: \"Someone tell her that we have kids in instagram.. we don’t need to poison there minds with this kind of sh-t…someone tell her to send this video to her husband and not to a bunch of perverts…\" and michelle_cookie101, who says: \"I’m reporting you bitch for nudity and porn… Shave your pits dude.\"\u003c/p>\n\u003cp>The overriding message, if you subject yourself to the entire thread of comments, is twofold: 1. Lola Kirke must be brought down a peg or two, and 2. Women's bodies are public property to be dissected and commented on at will. Much of the thread issues outright demands to shave, as if Lola's body is a public monument to be designed by and voted on in a virtual town hall.\u003c/p>\n\u003cp>The amount of attention focused on Lola Kirke for this one, silly, short clip also demonstrates how much our culture has been focused, for so many decades, on making women feel terrible about themselves at every opportunity. Not only do many of the Instagram commenters make that their goal, but a major reason this post generated an abnormal amount of traffic is because, in those eight brief seconds, it was clear that Lola Kirke was feeling good -- about her body, about herself, about her life. And the sight of that turned out to be so jarring, on such a deep level for a great many observers that they felt the need to remind Lola -- and all of us -- that there is a real price to pay if you allow the world to know you are a confident woman. If you happen to be such a woman with the nerve to not observe every single one of the extremely narrow rules around American beauty ideals, things will be even worse for you.\u003c/p>\n\u003cp>Earlier this month, \u003ca href=\"http://www.lennyletter.com/culture/interviews/a684/growing-into-yourself/\">Lena Dunham interviewed Camila Cabello\u003c/a> about how the 19-year-old has coped with stardom in the pop group Fifth Harmony. Wise beyond her years, Cabello said: \"The best decision that I've taken in my career thus far has been this year; I've just stayed away from social media. I don't go on it... Even though I know that there's way more support than there is hate, I don't have that in my head.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It's a sad state of affairs when young, famous women must close themselves off from social media -- something most of their non-famous peers use daily -- in order to avoid having around-the-clock hate directed at them. Here's hoping Lola Kirke can provide a positive example of how to rise above and beyond it, while we wait for online culture to catch up.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/lolakirke/?hl=en\">Lola Kirke\u003c/a> isn't a household name yet. Despite roles in \u003ca href=\"http://www.imdb.com/title/tt2267998/?ref_=nv_sr_1\">\u003cem>Gone Girl\u003c/em>\u003c/a> and Noah Baumbach's \u003cem>\u003ca href=\"http://www.imdb.com/title/tt2872462/?ref_=nv_sr_1\">Mistress America,\u003c/a> \u003c/em>most know her as the younger sister of\u003cem> \u003c/em>\u003ca href=\"http://www.imdb.com/name/nm3733434/\">Jemima Kirke\u003c/a>, who plays Jessa in \u003ca href=\"http://www.imdb.com/title/tt1723816/?ref_=fn_al_tt_1\">\u003cem>Girls\u003c/em>\u003c/a>. But a slew of movies coming out this year -- including \u003ca href=\"http://www.imdb.com/title/tt3532216/?ref_=nm_flmg_act_2\">\u003cem>American Made\u003c/em>\u003c/a>, alongside \u003ca href=\"https://ww2.kqed.org/pop/2017/01/10/why-dont-exposes-about-the-inner-workings-of-scientology-hurt-tom-cruises-career/\">Tom Cruise\u003c/a> -- mean that Lola Kirke is probably enjoying the last gasps of relative anonymity.\u003c/p>\n\u003cp>A few weeks ago, however, Kirke got a taste of the insanity that comes with being a human in the limelight, after she Instagrammed an \u003ca href=\"https://www.instagram.com/p/BPBJC9zhu0o/?taken-by=lolakirke&hl=en\">eight-second video of herself\u003c/a> casually dancing to Carly Simon, resplendent in nothing but flesh-colored underwear, dangly earrings and high heels, with the caption \"Red carpet ready!\" It was a video shot before the actress attended this year's \u003ca href=\"https://ww2.kqed.org/pop/2017/01/09/the-very-best-gifs-from-the-2017-golden-globes/\">Golden Globes\u003c/a>, and it captured the excitement and joy of the moment for a young star who is still thrilled to be invited to such events.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It's important to note that Lola Kirke has, at the time of writing, 28k followers on Instagram. The photo of her \u003ca href=\"https://www.instagram.com/p/BPBmafzBdk8/?taken-by=lolakirke&hl=en\">actually on the red carpet\u003c/a> later that night is a pretty solid representation of what usually happens on her page -- 5,640 likes, 339 comments. By comparison, the underwear video garnered a whopping 3 million views and 1,500 comments. Her caption attached to the aforementioned red carpet pic succinctly explains why: \"Thanks to all you beautiful people who didn't send me death threats on account of my #awesome #hairyarmpits!\"\u003c/p>\n\u003cp>To read through all 1,500 comments under Lola's underwear video is to experience everything bad that happens to people on social media in one handily condensed and unedited nightmare spiral -- not to mention how gender roles influence how we humans look at each other and interact in real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the surface, the outrage at Lola's video does seem entirely based in disgust at her unshaven armpits. In one comment thread, she is called \"ugly,\" \"nasty,\" and \"bitch\" so many times that counting each instance becomes a Herculean task. Kirke is also repeatedly referred to as \"slutty,\" \"gross,\" \"hoe,\" \"disgusting,\" and \"unhygienic.\" The emoji with the closed eyes and the surgical face shield is used hundreds of times.\u003c/p>\n\u003cp>Interrupting this endless tirade of insults are supporters, desperate to remind Lola that she is \"beautiful\" and \"awesome,\" but the hate just keeps coming at a rate that demonstrates that this isn't just about one moderately famous woman's underarms.\u003c/p>\n\u003cp>The men leaving insults on the thread mostly make it about them. @triggeredredmemes says: \"I don’t want a bitch that won’t shave in bed with me.\" @anthony_ramirez.24 says: \"I wish I didn’t see this.\" @just_finding_nemo says: \"I don’t understand why some women don’t shave their armpits.\" @xx_.king._xx says: \"it’s different on a dude but you bring a female in the picture that look decent then got hairy ass armpits that sh-t ain’t adding up. plus idk a dude that like that on there girl.\" And @tiamobieber seems to feel threatened by having a woman embrace something that he believes is a male privilege: \"Disgusting! YOU ARE A WOMEN NOT A MAN.\"\u003c/p>\n\u003cp>Then there are the men who think this must be a publicity stunt, for no right-thinking woman would ever willingly leave hair on her body without real (financial?) motivation to do so. @Mohragabfans says: \"Clearly she doesn’t have a career. Nobody is paying her any mind. So, she figured. Growing my disgusting armpit hair will get my whack ass self on some headlines (which happened) but don’t forget, she did that all to grab the medias attention. It’s sad to be this desperate and thirsty.\" @Joshsa7 agrees: \"I love her but she is so badly trying to prove a point by not shaving its unbecoming.\"\u003c/p>\n\u003cp>Interestingly, the women expressing outrage make it about their own idea of feminine roles, which, in turn, often reveal some serious, internalized misogyny. Some have strange notions about the dangers of armpit hair for women like @lizre, who states: \"If you people don’t like to shower, shave, brush your teeth etc. Fine but the truth is that it is disgusting without hygiene people can get sick.\"\u003c/p>\n\u003cp>Then there's anti-underwear police like @solas_one, who says: \"Someone tell her that we have kids in instagram.. we don’t need to poison there minds with this kind of sh-t…someone tell her to send this video to her husband and not to a bunch of perverts…\" and michelle_cookie101, who says: \"I’m reporting you bitch for nudity and porn… Shave your pits dude.\"\u003c/p>\n\u003cp>The overriding message, if you subject yourself to the entire thread of comments, is twofold: 1. Lola Kirke must be brought down a peg or two, and 2. Women's bodies are public property to be dissected and commented on at will. Much of the thread issues outright demands to shave, as if Lola's body is a public monument to be designed by and voted on in a virtual town hall.\u003c/p>\n\u003cp>The amount of attention focused on Lola Kirke for this one, silly, short clip also demonstrates how much our culture has been focused, for so many decades, on making women feel terrible about themselves at every opportunity. Not only do many of the Instagram commenters make that their goal, but a major reason this post generated an abnormal amount of traffic is because, in those eight brief seconds, it was clear that Lola Kirke was feeling good -- about her body, about herself, about her life. And the sight of that turned out to be so jarring, on such a deep level for a great many observers that they felt the need to remind Lola -- and all of us -- that there is a real price to pay if you allow the world to know you are a confident woman. If you happen to be such a woman with the nerve to not observe every single one of the extremely narrow rules around American beauty ideals, things will be even worse for you.\u003c/p>\n\u003cp>Earlier this month, \u003ca href=\"http://www.lennyletter.com/culture/interviews/a684/growing-into-yourself/\">Lena Dunham interviewed Camila Cabello\u003c/a> about how the 19-year-old has coped with stardom in the pop group Fifth Harmony. Wise beyond her years, Cabello said: \"The best decision that I've taken in my career thus far has been this year; I've just stayed away from social media. I don't go on it... Even though I know that there's way more support than there is hate, I don't have that in my head.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It's a sad state of affairs when young, famous women must close themselves off from social media -- something most of their non-famous peers use daily -- in order to avoid having around-the-clock hate directed at them. Here's hoping Lola Kirke can provide a positive example of how to rise above and beyond it, while we wait for online culture to catch up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a self-described “old drunk,” the actor John Hurt nonetheless had a half-century career highlighted with memorable performances, two Oscar nominations, a Golden Globe and four British BAFTA awards. Success and failure were taken in stride.\u003c/p>\n\u003cp>When the film \u003cem>Divine Rapture\u003c/em> shut down in 1995 after two weeks of shooting in Ireland, Debra Winger didn’t want to talk and Marlon Brando and Johnny Depp had cleared out. The sole customer at the village pub was Hurt, a pint of Guinness in hand, chatting with the bartender about \u003cem>I, Claudius\u003c/em> and life as a tax exile in County Wicklow.\u003c/p>\n\u003cp>“Nobody’s getting paid except Marlon. I really don’t see the point of getting angry,” he told an Associated Press reporter. “I do see the point of getting drunk.”\u003c/p>\n\u003cp>Hurt, 77, died Friday in London, his agent Charles McDonald said.\u003c/p>\n\u003cp>Knighted in 2015, he was described as inspirational, legendary, incomparable. Mia Farrow tweeted that he was one of the “finest actors of our time, and the loveliest person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His Oscar nominations were for playing the tortured John Merrick in David Lynch’s \u003cem>The Elephant Man\u003c/em> and the heroin addict Max in \u003cem>Midnight Express\u003c/em>. Beginning with bit parts in films and television, his breakout came in 1966 as Richard Rich in Fred Zinnemann’s \u003cem>A Man For All Seasons\u003c/em>, followed by his portrayal of Caligula in the BBC miniseries “I, Claudius” in 1976.\u003c/p>\n\u003cp>The wiry Hurt brought an uneasy humor to Kane in Ridley Scott’s \u003cem>Alien\u003c/em>, immortalized by his disturbing death scene, which Mel Brooks later satirized with Hurt’s help in “Spaceballs.”\u003c/p>\n\u003cp>“He was a truly magnificent talent,” Brooks wrote on Twitter.\u003c/p>\n\u003cp>Social media tributes included one from actress Jamie Lee Curtis, who tweeted: “John Hurt. Midnight Express. Nothing better. Ever.”\u003c/p>\n\u003cp>Hurt was unrecognizable in perhaps his most memorable role as the lead in \u003cem>The Elephant Man\u003c/em>. He endured eight hours in the makeup chair daily to transform into John Merrick. The elaborate mask prohibited him from sleeping, lying down or even eating while it was on. His would eat his last meal midmorning as the mask was being applied — usually raw eggs mixed in orange juice — and not again until after midnight.\u003c/p>\n\u003cp>“To be quite honest, the film was misery to make because of the physical problems, so if it’s working I’m jumping for joy,” Hurt said in a 1980 interview. He lost out in the Oscar race to Robert De Niro’s performance in \u003cem>Raging Bull\u003c/em>.\u003c/p>\n\u003cp>In the 1975 television film \u003cem>The Naked Civil Servant\u003c/em>, Hurt brought sensitivity and polish to the role of Quentin Crisp, winning a BAFTA award for best actor. He reprised the role for the 2009 film “An Englishman in New York” about Crisp’s later life in the U.S.\u003c/p>\n\u003cp>Hurt also took voice roles in \u003cem>Watership Down\u003c/em> and as Aragorn in Ralph Bakshi’s \u003cem>The Lord of the Rings\u003c/em>.\u003c/p>\n\u003cp>In the \u003cem>Harry Potter\u003c/em> films, Hurt played the wand-maker Mr. Ollivander. Sites dedicated to the series of books and films exhorted fans to “raise your wands,” and the author of the books, JK Rowling, tweeted: “So very sad to hear that the immensely talented and deeply beloved John Hurt has died.”\u003c/p>\n\u003cp>Hurt was born in Shirebrook, an English coal-mining village; his father was a Church of England priest and his mother was an engineer and former actress. A stint at the Royal Academy of Dramatic Art launched the young man’s stage and screen career.\u003c/p>\n\u003cp>As prolific as ever, Hurt recently appeared alongside his \u003cem>V for Vendetta\u003c/em> co-star Natalie Portman in the Oscar-nominated film \u003cem>Jackie\u003c/em> as a priest who consoles the recently widowed first lady.\u003c/p>\n\u003cp>Actress Clare Higgins, who worked with Hurt on the BBC’s \u003cem>Doctor Who\u003c/em>, called him “the perfect actor.”\u003c/p>\n\u003cp>“John had a real tenderness and gentleness which is quite rare in a male actor,” she said on the BBC Breakfast program.\u003c/p>\n\u003cp>Hurt leaves behind a few in-production credits, including Joe Wright’s \u003cem>Darkest Hour\u003c/em>, which is listed as still filming. Hurt plays Neville Chamberlain in the film about Winston Churchill’s charge against Hitler. Gary Oldman plays Churchill.\u003c/p>\n\u003cp>“I have lots of favorite memories but I can’t say that I have a favorite film. I have favorite parts which are not in particularly successful films,” Hurt told The Guardian in 2000. “I’ve been incredibly lucky with the directors I’ve worked with. You don’t realize it at the time, it’s just in retrospect if you look back you think, ‘Jeez, when I saw that CV it nearly frightened the life out of me.’ I thought, ‘That’s not bad for an old drunk.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thrice divorced, Hurt is survived by his fourth wife, Anwen Rees-Myers, and two children from his third marriage.\u003cbr>\n___\u003cbr>\nAP writer Lindsay Bahr in Los Angeles contributed to this story. Pogatchnik contributed from Dublin.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a self-described “old drunk,” the actor John Hurt nonetheless had a half-century career highlighted with memorable performances, two Oscar nominations, a Golden Globe and four British BAFTA awards. Success and failure were taken in stride.\u003c/p>\n\u003cp>When the film \u003cem>Divine Rapture\u003c/em> shut down in 1995 after two weeks of shooting in Ireland, Debra Winger didn’t want to talk and Marlon Brando and Johnny Depp had cleared out. The sole customer at the village pub was Hurt, a pint of Guinness in hand, chatting with the bartender about \u003cem>I, Claudius\u003c/em> and life as a tax exile in County Wicklow.\u003c/p>\n\u003cp>“Nobody’s getting paid except Marlon. I really don’t see the point of getting angry,” he told an Associated Press reporter. “I do see the point of getting drunk.”\u003c/p>\n\u003cp>Hurt, 77, died Friday in London, his agent Charles McDonald said.\u003c/p>\n\u003cp>Knighted in 2015, he was described as inspirational, legendary, incomparable. Mia Farrow tweeted that he was one of the “finest actors of our time, and the loveliest person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His Oscar nominations were for playing the tortured John Merrick in David Lynch’s \u003cem>The Elephant Man\u003c/em> and the heroin addict Max in \u003cem>Midnight Express\u003c/em>. Beginning with bit parts in films and television, his breakout came in 1966 as Richard Rich in Fred Zinnemann’s \u003cem>A Man For All Seasons\u003c/em>, followed by his portrayal of Caligula in the BBC miniseries “I, Claudius” in 1976.\u003c/p>\n\u003cp>The wiry Hurt brought an uneasy humor to Kane in Ridley Scott’s \u003cem>Alien\u003c/em>, immortalized by his disturbing death scene, which Mel Brooks later satirized with Hurt’s help in “Spaceballs.”\u003c/p>\n\u003cp>“He was a truly magnificent talent,” Brooks wrote on Twitter.\u003c/p>\n\u003cp>Social media tributes included one from actress Jamie Lee Curtis, who tweeted: “John Hurt. Midnight Express. Nothing better. Ever.”\u003c/p>\n\u003cp>Hurt was unrecognizable in perhaps his most memorable role as the lead in \u003cem>The Elephant Man\u003c/em>. He endured eight hours in the makeup chair daily to transform into John Merrick. The elaborate mask prohibited him from sleeping, lying down or even eating while it was on. His would eat his last meal midmorning as the mask was being applied — usually raw eggs mixed in orange juice — and not again until after midnight.\u003c/p>\n\u003cp>“To be quite honest, the film was misery to make because of the physical problems, so if it’s working I’m jumping for joy,” Hurt said in a 1980 interview. He lost out in the Oscar race to Robert De Niro’s performance in \u003cem>Raging Bull\u003c/em>.\u003c/p>\n\u003cp>In the 1975 television film \u003cem>The Naked Civil Servant\u003c/em>, Hurt brought sensitivity and polish to the role of Quentin Crisp, winning a BAFTA award for best actor. He reprised the role for the 2009 film “An Englishman in New York” about Crisp’s later life in the U.S.\u003c/p>\n\u003cp>Hurt also took voice roles in \u003cem>Watership Down\u003c/em> and as Aragorn in Ralph Bakshi’s \u003cem>The Lord of the Rings\u003c/em>.\u003c/p>\n\u003cp>In the \u003cem>Harry Potter\u003c/em> films, Hurt played the wand-maker Mr. Ollivander. Sites dedicated to the series of books and films exhorted fans to “raise your wands,” and the author of the books, JK Rowling, tweeted: “So very sad to hear that the immensely talented and deeply beloved John Hurt has died.”\u003c/p>\n\u003cp>Hurt was born in Shirebrook, an English coal-mining village; his father was a Church of England priest and his mother was an engineer and former actress. A stint at the Royal Academy of Dramatic Art launched the young man’s stage and screen career.\u003c/p>\n\u003cp>As prolific as ever, Hurt recently appeared alongside his \u003cem>V for Vendetta\u003c/em> co-star Natalie Portman in the Oscar-nominated film \u003cem>Jackie\u003c/em> as a priest who consoles the recently widowed first lady.\u003c/p>\n\u003cp>Actress Clare Higgins, who worked with Hurt on the BBC’s \u003cem>Doctor Who\u003c/em>, called him “the perfect actor.”\u003c/p>\n\u003cp>“John had a real tenderness and gentleness which is quite rare in a male actor,” she said on the BBC Breakfast program.\u003c/p>\n\u003cp>Hurt leaves behind a few in-production credits, including Joe Wright’s \u003cem>Darkest Hour\u003c/em>, which is listed as still filming. Hurt plays Neville Chamberlain in the film about Winston Churchill’s charge against Hitler. Gary Oldman plays Churchill.\u003c/p>\n\u003cp>“I have lots of favorite memories but I can’t say that I have a favorite film. I have favorite parts which are not in particularly successful films,” Hurt told The Guardian in 2000. “I’ve been incredibly lucky with the directors I’ve worked with. You don’t realize it at the time, it’s just in retrospect if you look back you think, ‘Jeez, when I saw that CV it nearly frightened the life out of me.’ I thought, ‘That’s not bad for an old drunk.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thrice divorced, Hurt is survived by his fourth wife, Anwen Rees-Myers, and two children from his third marriage.\u003cbr>\n___\u003cbr>\nAP writer Lindsay Bahr in Los Angeles contributed to this story. Pogatchnik contributed from Dublin.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! European Unions Thrive at Berlin & Beyond",
"headTitle": "Now Playing! European Unions Thrive at Berlin & Beyond | KQED",
"content": "\u003cp>The numerous \u003ca href=\"https://www.youtube.com/results?search_query=hitler+reacts+to\" target=\"_blank\" rel=\"noopener\">\u003cem>Downfall\u003c/em> parodies\u003c/a> on the internet derive their humor from the harshest imaginable German speaker ranting about a minor modern-day development. The language also has a softer side, evinced by Doris Dorrie’s black-and-white odd-couple movie \u003cem>Fukushima, Mon Amour\u003c/em>. A highlight of the annual \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/16f/enindex.htm\" target=\"_blank\" rel=\"noopener\">Berlin & Beyond Film Festival\u003c/a> (Feb. 3-8 at the Castro and Goethe-Institut, with a day of docs at Oakland’s Pro Arts Gallery on Feb. 4), this eloquent, ephemeral movie pairs a former geisha and survivor of the 2011 tsunami, nuclear accident and radioactive ruination with a young German woman at loose ends.\u003c/p>\n\u003cfigure id=\"attachment_12697062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Frantz1200.jpg\" alt=\"Still from 'Frantz.'\" width=\"1200\" height=\"797\" class=\"size-full wp-image-12697062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Frantz.’ \u003ccite>(Courtesy of Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prolific French filmmaker Francois Ozon’s bilingual romantic drama, \u003cem>Frantz\u003c/em> — just nominated for 10 César Awards, including Best Film, Director, Cinematography and Original Score — also applies a black-and-white aesthetic to a trans-national relationship, in this case the post-World War I encounter between a grieving German woman and a French former soldier. \u003c/p>\n\u003cp>(Offscreen) war and the angst of exile plagues the famous German-Jewish protagonist of \u003cem>Stefan Zweig: Farewell to Europe\u003c/em>, a uniquely structured and altogether fascinating film that was Austria’s submission for the Foreign Language Oscar. If you like your historical drama spiked with a bit of glamour, actress-cum-director Maria Schrader will be honored before the screening with the festival’s \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/tps/enindex.htm\" target=\"_blank\" rel=\"noopener\">Career Achievement Award\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The numerous \u003ca href=\"https://www.youtube.com/results?search_query=hitler+reacts+to\" target=\"_blank\" rel=\"noopener\">\u003cem>Downfall\u003c/em> parodies\u003c/a> on the internet derive their humor from the harshest imaginable German speaker ranting about a minor modern-day development. The language also has a softer side, evinced by Doris Dorrie’s black-and-white odd-couple movie \u003cem>Fukushima, Mon Amour\u003c/em>. A highlight of the annual \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/16f/enindex.htm\" target=\"_blank\" rel=\"noopener\">Berlin & Beyond Film Festival\u003c/a> (Feb. 3-8 at the Castro and Goethe-Institut, with a day of docs at Oakland’s Pro Arts Gallery on Feb. 4), this eloquent, ephemeral movie pairs a former geisha and survivor of the 2011 tsunami, nuclear accident and radioactive ruination with a young German woman at loose ends.\u003c/p>\n\u003cfigure id=\"attachment_12697062\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Frantz1200.jpg\" alt=\"Still from 'Frantz.'\" width=\"1200\" height=\"797\" class=\"size-full wp-image-12697062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Frantz1200-520x345.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Frantz.’ \u003ccite>(Courtesy of Berlin & Beyond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prolific French filmmaker Francois Ozon’s bilingual romantic drama, \u003cem>Frantz\u003c/em> — just nominated for 10 César Awards, including Best Film, Director, Cinematography and Original Score — also applies a black-and-white aesthetic to a trans-national relationship, in this case the post-World War I encounter between a grieving German woman and a French former soldier. \u003c/p>\n\u003cp>(Offscreen) war and the angst of exile plagues the famous German-Jewish protagonist of \u003cem>Stefan Zweig: Farewell to Europe\u003c/em>, a uniquely structured and altogether fascinating film that was Austria’s submission for the Foreign Language Oscar. If you like your historical drama spiked with a bit of glamour, actress-cum-director Maria Schrader will be honored before the screening with the festival’s \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/tps/enindex.htm\" target=\"_blank\" rel=\"noopener\">Career Achievement Award\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Set on an apparently tropical island, \u003cem>The Red Turtle\u003c/em> (La tortue rouge) exalts the cycle of life and celebrates the beauty of nature. Yet this dialogue-free animated fable could hardly be more anthropocentric.\u003c/p>\n\u003cp>The man around whom the film revolves is introduced literally at sea, battling to survive the stormy waves of a slate-colored ocean. The sketchily drawn, button-eyed survivor soon washes up on a remote isle. It’s inhabited mostly by insects and crustaceans — the sand crabs provide low-key comic relief — although sometimes a larger creature comes ashore.\u003c/p>\n\u003cp>https://youtu.be/4lwrzNqEUOM\u003c/p>\n\u003cp>Water and food are available, and shelter is not an issue, since the climate is warm. Nonetheless, the castaway endeavors to leave, building a succession of rafts that are quickly destroyed by an unseen force. Eventually, the man encounters the creature that’s preventing his escape. It’s a gigantic red turtle.\u003c/p>\n\u003cp>Soon after, somehow, a woman appears. The pretty redhead’s arrival reconciles the exile to remaining on the island, and the couple raises a son. The trio’s existence is the human family in microcosm, without any pesky siblings or in-laws. It could be said, though, that the sea turtles that offer assistance during emergencies are cousins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>London-based Dutch animator Michael Dudok de Wit spent a decade making \u003cem>The Red Turtle\u003c/em>, which is hand-drawn (mostly on electronic tablets, not paper ones). It’s the first feature from a filmmaker who won an Oscar 17 years ago for \u003cem>Father and Daughter\u003c/em>, a short that was also without words.\u003c/p>\n\u003cp>Dudok de Wit was recruited and mentored by Isao Takahata, of Japan’s Studio Ghibli, which is best known for such tales of nature and transformation as \u003cem>Spirited Away\u003c/em> and \u003cem>Princess Mononoke\u003c/em>. The Franco-Japanese collaboration’s supervising animator is Jean-Christophe Lie, who worked on T\u003cem>he Triplets of Belleville\u003c/em>.\u003c/p>\n\u003cp>The Japanese influence is apparent in both the movie’s look and its story. The script, by Dudok de Wit and \u003cem>Bird People\u003c/em> writer-director Pascale Ferran, features a bamboo forest and a catastrophic tsunami. The latter is one of several sequences that’s suspenseful enough for a big-budget action movie. (Alas, Laurent Perez del Mar’s drippy score also gives off a major-studio vibe.)\u003c/p>\n\u003cp>For a wordless South Seas idyll, the movie is quite eventful. Panicky moments and angry outbursts contrast the leisurely pace of island life and the artfully rendered sea and sky. The animators don’t overplay the loveliness, preferring subdued colors punctuated by the occasional vivid blue. Red rarely appears, and the many dream sequences are as gray as the night from which they emerge.\u003c/p>\n\u003cp>Unless, of course, the entire movie is a dream. After all, things occur here that would be impossible in a non-animated cosmos. But if \u003cem>The Red Turtle\u003c/em> is a fantasy, it’s not one in which man achieves concord with nature.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, after initially frustrating the castaway, the sea, the island, and their creatures accommodate themselves to him. Although viewers barely get to know the man, they can clearly see he’s the center of this hand-drawn universe. That seems a curious outlook for movie that’s being released just as climate scientists report that 2016 was the third year in a row to be the hottest ever recorded.\u003c/p>\n\n",
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"content": "\u003cp>Kink.com, the fetish pornography site that’s been filming in the San Francisco Armory for the last decade, is shutting down production in the Bay Area.\u003c/p>\n\u003cp>The company that once made 100 films a month at its Mission district site told the Guardian that it will stop production in February.\u003c/p>\n\u003cp>“A lot of the Castro was built on the back of porn companies. But one by one, they upped and left,” Kink.com CEO Peter Acworth told \u003ca href=\"https://www.theguardian.com/culture/2017/jan/25/porn-bdsm-kink-armory-closing-san-francisco\" target=\"_blank\" rel=\"noopener\">the Guardian\u003c/a>. “There’s so much content out there. The human body only has so many orifices and so many limbs you can tie in so many ways.”\u003c/p>\n\u003cp>Kink’s in-house directors will move production to Nevada, Southern California and other parts of the Bay Area — making good on a promise Acworth made back 2014 to move out of San Francisco.\u003c/p>\n\u003cp>“I would still think of Kink.com production moving out as a question of ‘if’ as opposed to ‘when,'” Acworth told the San Francisco Bay Guardian back in April of 2014. \u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10917233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Acworth originally threatened to pack up and leave because of Cal-OSHA fines and impending condom legislation — which was voted down last election — the site’s membership and revenue has dropped significantly, with some publications saying \u003ca href=\"http://sfist.com/2017/01/17/kinkcom_moves_all_production_out_of.php\" target=\"_blank\" rel=\"noopener\">as much as 40 percent\u003c/a>. Just a year ago, the company cut half of its workforce. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In recent years, the building has housed corporate offices and Acworth hopes to expand that space. Acworth also hired \u003ca href=\"https://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">Audrey Joseph\u003c/a>, the former vice chair of the San Francisco Entertainment Commission, to convert the century-old building’s gymnasium into a venue for large concerts. After receiving a number of complaints from neighbors over its concerts, \u003ca href=\"https://ww2.kqed.org/arts/2016/04/04/the-armory-kink-coms-edm-castle-besieged-by-permit-complaints/\" target=\"_blank\" rel=\"noopener\">it still received a permit\u003c/a> to host shows back in April of last year.\u003c/p>\n\u003cp>The studios in the basement will stay set up for video productions — they just won’t make Kink.com videos there. Acworth also said that they will still host tours, though he suspects that attendance will drop once he stops filming porn here. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>CORRECTION:\u003c/b> This article originally stated that the basement studios would be converted into offices, which was incorrect.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kink.com, the fetish pornography site that’s been filming in the San Francisco Armory for the last decade, is shutting down production in the Bay Area.\u003c/p>\n\u003cp>The company that once made 100 films a month at its Mission district site told the Guardian that it will stop production in February.\u003c/p>\n\u003cp>“A lot of the Castro was built on the back of porn companies. But one by one, they upped and left,” Kink.com CEO Peter Acworth told \u003ca href=\"https://www.theguardian.com/culture/2017/jan/25/porn-bdsm-kink-armory-closing-san-francisco\" target=\"_blank\" rel=\"noopener\">the Guardian\u003c/a>. “There’s so much content out there. The human body only has so many orifices and so many limbs you can tie in so many ways.”\u003c/p>\n\u003cp>Kink’s in-house directors will move production to Nevada, Southern California and other parts of the Bay Area — making good on a promise Acworth made back 2014 to move out of San Francisco.\u003c/p>\n\u003cp>“I would still think of Kink.com production moving out as a question of ‘if’ as opposed to ‘when,'” Acworth told the San Francisco Bay Guardian back in April of 2014. \u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10917233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Acworth originally threatened to pack up and leave because of Cal-OSHA fines and impending condom legislation — which was voted down last election — the site’s membership and revenue has dropped significantly, with some publications saying \u003ca href=\"http://sfist.com/2017/01/17/kinkcom_moves_all_production_out_of.php\" target=\"_blank\" rel=\"noopener\">as much as 40 percent\u003c/a>. Just a year ago, the company cut half of its workforce. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In recent years, the building has housed corporate offices and Acworth hopes to expand that space. Acworth also hired \u003ca href=\"https://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">Audrey Joseph\u003c/a>, the former vice chair of the San Francisco Entertainment Commission, to convert the century-old building’s gymnasium into a venue for large concerts. After receiving a number of complaints from neighbors over its concerts, \u003ca href=\"https://ww2.kqed.org/arts/2016/04/04/the-armory-kink-coms-edm-castle-besieged-by-permit-complaints/\" target=\"_blank\" rel=\"noopener\">it still received a permit\u003c/a> to host shows back in April of last year.\u003c/p>\n\u003cp>The studios in the basement will stay set up for video productions — they just won’t make Kink.com videos there. Acworth also said that they will still host tours, though he suspects that attendance will drop once he stops filming porn here. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>CORRECTION:\u003c/b> This article originally stated that the basement studios would be converted into offices, which was incorrect.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mary Tyler Moore, the star of TV’s beloved \u003cem>The Mary Tyler Moore Show\u003c/em> whose comic realism helped revolutionize the depiction of women on the small screen, has died.\u003c/p>\n\u003cp>Moore died Wednesday with her husband and friends nearby, her publicist, Mara Buxbaum, said. She was 80.\u003c/p>\n\u003cp>Moore gained fame in the 1960s as the frazzled wife Laura Petrie on \u003cem>The Dick Van Dyke Show\u003c/em>. In the 1970s, she created one of TV’s first career-woman sitcom heroines in \u003cem>The Mary Tyler Moore Show\u003c/em>.\u003c/p>\n\u003cp>She won seven Emmy awards over the years and was nominated for an Oscar for her 1980 portrayal of an affluent mother whose son is accidentally killed in \u003cem>Ordinary People\u003c/em>.\u003c/p>\n\u003cp>She had battled diabetes for many years. In 2011, she underwent surgery to remove a benign tumor on the lining of her brain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore’s first major TV role was on the classic sitcom “The Dick Van Dyke Show,” in which she played the young homemaker wife of Van Dyke’s character, comedy writer Rob Petrie, from 1961-66.\u003c/p>\n\u003cp>With her unerring gift for comedy, Moore seemed perfectly fashioned to the smarter wit of the new, post-Eisenhower age. As Laura, she traded in the housedress of countless sitcom wives and clad her dancer’s legs in Capri pants that were as fashionable as they were suited to a modern American woman.\u003c/p>\n\u003cp>Laura was a dream wife and mother, but not perfect. Viewers identified with her flustered moments and her protracted, plaintive cry to her husband: “Ohhhh, Robbbb!”\u003c/p>\n\u003cp>Moore’s chemistry with Van Dyke was unmistakable. Decades later, he spoke warmly of the chaste but palpable off-screen crush they shared during the show’s run.\u003c/p>\n\u003cp>They also appeared together in several TV specials over the years and in 2003, co-starred in a PBS production of the play \u003cem>The Gin Game\u003c/em>.\u003c/p>\n\u003cp>But it was as Mary Richards, the plucky Minneapolis TV news producer on “The Mary Tyler Moore Show” (1970-77), that Moore truly made her mark.\u003c/p>\n\u003cp>At a time when women’s liberation was catching on worldwide, her character brought to TV audiences an independent, 1970s career woman. Other than Marlo Thomas’ 1960s sitcom character “That Girl,” who at least had a steady boyfriend, there were few precedents.\u003c/p>\n\u003cp>Mary Richards was comfortable being single in her 30s, and while she dated, she wasn’t desperate to get married. She sparred affectionately with her gruff boss, Lou Grant, played by Ed Asner and addressed always as “Mr. Grant.” And millions agreed with the show’s theme song that she could “turn the world on with her smile.”\u003c/p>\n\u003cp>The show was filled with laughs. But no episode was more memorable than the bittersweet finale when new management fired the entire WJM News staff — everyone but the preening, clueless anchorman, Ted Baxter. Thus did the series dare to question whether Mary Richards actually did “make it after all.”\u003c/p>\n\u003cp>The series ran seven seasons and won 29 Emmys, a record that stood for a quarter century until \u003cem>Frasier\u003c/em> broke it in 2002.\u003c/p>\n\u003cp>\u003cem>The Mary Tyler Moore Show\u003c/em> spawned the spin-offs \u003cem>Rhoda\u003c/em>, (1974-78), starring Valerie Harper; \u003cem>Phyllis\u003c/em> (1975-77), starring Cloris Leachman; and \u003cem>Lou Grant\u003c/em> (1977-82), starring Asner in a rare drama spun off from a comedy.\u003c/p>\n\u003cp>Mary Richards “certainly was never a character that I had to develop when we were doing the show,” Moore said in a 1995 interview with The Associated Press. “Everything I did was by the seat of the pants. I reacted to every written situation the way I would have in real life.”\u003c/p>\n\u003cp>She likened being linked with that role to “growing up with a mother who is a very famous actress. There are all kinds of wonderful perks that go with it, and then there are little resentments, too.\u003c/p>\n\u003cp>“My life is inextricably intertwined with Mary Richards’, and probably always will be,” she said.\u003c/p>\n\u003cp>\u003cem>Mary Tyler Moore\u003c/em> was the first in a series of acclaimed, award-winning shows she produced with her second husband, Grant Tinker, who died in November 2016, through their MTM Enterprises. (The meowing kitten at the end of the shows was a parody of the MGM lion.) \u003cem>The Bob Newhart Show\u003c/em>, \u003cem>Hill Street Blues\u003c/em>, \u003cem>St. Elsewhere\u003c/em> and \u003cem>WKRP in Cincinnati\u003c/em> are among the MTM series that followed.\u003c/p>\n\u003cp>Moore won her seventh Emmy in 1993, for supporting actress in a miniseries or special, for a Lifetime network movie, \u003cem>Stolen Babies\u003c/em>. She had won two for \u003cem>The Dick Van Dyke Show\u003c/em> and the other four for \u003cem>Mary Tyler Moore\u003c/em>.\u003c/p>\n\u003cp>At the time, her seven tied her with former co-star Asner for the record of prime-time Emmy acting wins. Another co-star, Leachman, later surpassed them with eight prime-time Emmys in acting and variety show categories.\u003c/p>\n\u003cp>In 2012, Moore received the Screen Actors Guild’s lifetime achievement award.\u003c/p>\n\u003cp>Moore never achieved the individual success with a television series that she enjoyed with \u003cem>Mary Tyler Moore\u003c/em>.\u003c/p>\n\u003cp>She starred in two different programs called \u003cem>Mary\u003c/em> — one, a comedy/variety hour similar to “The Carol Burnett Show,” lasted only a few episodes in 1978. Another variety show, “The Mary Tyler Moore Hour,” spent a few months on the air in 1979.\u003c/p>\n\u003cp>The second \u003cem>Mary\u003c/em>, a sitcom in which Moore played a divorced Chicago newspaper columnist, bounced between time slots for about six months before being canceled in 1986.\u003c/p>\n\u003cp>Then in fall 1986, another flop: \u003cem>Annie McGuire\u003c/em>, in which she played a divorced woman who had remarried for the second time. It lasted just two months.\u003c/p>\n\u003cp>She also asked to be written out of \u003cem>New York News\u003c/em>, a drama set at a newspaper, which aired for two months in 1995.\u003c/p>\n\u003cp>On the big screen, Moore’s appearances were less frequent. She was a 1920s flapper in the hit 1967 musical \u003cem>Thoroughly Modern Millie\u003c/em> and a nun who falls for Elvis Presley in \u003cem>Change of Habit\u003c/em> in 1969.\u003c/p>\n\u003cp>She turned to serious drama in 1980’s \u003cem>Ordinary People\u003c/em>, playing an affluent, bitter mother who loses a son in an accident. The film won the Oscar for best picture and best director for Robert Redford, and it earned Moore an Oscar nomination and a Golden Globe. She also played the mother of a dying girl in 1982’s \u003cem>Six Weeks\u003c/em> and real-life cancer survivor Betty Rollin in a 1978 TV movie, \u003cem>First You Cry\u003c/em>.\u003c/p>\n\u003cp>Moore endured personal tragedy in real life, too. The same year Ordinary People came out, her only child, Richard, who’d had trouble in school and with drugs, accidentally shot himself at 24. Her younger sister, Elizabeth, died at 21 from a combination of a painkillers and alcohol.\u003c/p>\n\u003cp>In her 1995 autobiography \u003cem>After All\u003c/em>, Moore admitted she helped her terminally ill brother try to commit suicide by feeding him ice cream laced with a deadly overdose of drugs. The attempt failed, and her 47-year-old brother, John, died three months later in 1992 of kidney cancer.\u003c/p>\n\u003cp>Moore herself lived with juvenile diabetes for some 40 years and told of her struggle in her 2009 book, \u003cem>Growing Up Again\u003c/em>. She also spent five weeks at the Betty Ford Clinic in 1984 for alcohol abuse, writing that they “transformed my life — and gave me a chance to start growing up — even at my advanced age … of 45.”\u003c/p>\n\u003cp>She served as chairwoman of the Juvenile Diabetes Foundation International, supported embryonic stem cell research and was active in animal rights causes.\u003c/p>\n\u003cp>In 1983, Moore married cardiologist Robert Levine, who survives her. Her marriage to Tinker lasted from 1962 to 1981. Before that, she was married to Dick Meeker from 1955 to 1961.\u003c/p>\n\u003cp>Moore was born in 1936 in Brooklyn; the family moved to California when she was around 8 years old.\u003c/p>\n\u003cp>She began dancing lessons as a child and launched her career while still in her teens, appearing in TV commercials. In the mid-’50s, she was a dancing sprite called \u003cem>Happy Hotpoint\u003c/em> in Hotpoint appliance ads.\u003c/p>\n\u003cp>One of her early TV series roles was as a secretary who was unseen, except for her legs, on “Richard Diamond, Private Detective.”\u003c/p>\n\u003cp>She arrived at \u003cem>The Dick Van Dyke Show\u003c/em> at age 24, a dancer with few acting credits and scant evidence of any gift for being funny.\u003c/p>\n\u003cp>Decades later, Carl Reiner, who created the show, still marveled at the comic genius he discovered and nurtured.\u003c/p>\n\u003cp>“She was a very quick study,” he recalled in 2014. “It didn’t take her very long.”\u003c/p>\n\u003cp>It was start of a comic legacy.\u003c/p>\n\u003cp>In 1992, Moore received a star on the Hollywood Walk of Fame. A decade later, a life-size bronze statue went on display in Minneapolis, depicting her tossing her trademark tam into the air as she did in the opening credits of \u003cem>The Mary Tyler Moore Show\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Zfti7b31rs\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mary Tyler Moore, the star of TV’s beloved \u003cem>The Mary Tyler Moore Show\u003c/em> whose comic realism helped revolutionize the depiction of women on the small screen, has died.\u003c/p>\n\u003cp>Moore died Wednesday with her husband and friends nearby, her publicist, Mara Buxbaum, said. She was 80.\u003c/p>\n\u003cp>Moore gained fame in the 1960s as the frazzled wife Laura Petrie on \u003cem>The Dick Van Dyke Show\u003c/em>. In the 1970s, she created one of TV’s first career-woman sitcom heroines in \u003cem>The Mary Tyler Moore Show\u003c/em>.\u003c/p>\n\u003cp>She won seven Emmy awards over the years and was nominated for an Oscar for her 1980 portrayal of an affluent mother whose son is accidentally killed in \u003cem>Ordinary People\u003c/em>.\u003c/p>\n\u003cp>She had battled diabetes for many years. In 2011, she underwent surgery to remove a benign tumor on the lining of her brain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore’s first major TV role was on the classic sitcom “The Dick Van Dyke Show,” in which she played the young homemaker wife of Van Dyke’s character, comedy writer Rob Petrie, from 1961-66.\u003c/p>\n\u003cp>With her unerring gift for comedy, Moore seemed perfectly fashioned to the smarter wit of the new, post-Eisenhower age. As Laura, she traded in the housedress of countless sitcom wives and clad her dancer’s legs in Capri pants that were as fashionable as they were suited to a modern American woman.\u003c/p>\n\u003cp>Laura was a dream wife and mother, but not perfect. Viewers identified with her flustered moments and her protracted, plaintive cry to her husband: “Ohhhh, Robbbb!”\u003c/p>\n\u003cp>Moore’s chemistry with Van Dyke was unmistakable. Decades later, he spoke warmly of the chaste but palpable off-screen crush they shared during the show’s run.\u003c/p>\n\u003cp>They also appeared together in several TV specials over the years and in 2003, co-starred in a PBS production of the play \u003cem>The Gin Game\u003c/em>.\u003c/p>\n\u003cp>But it was as Mary Richards, the plucky Minneapolis TV news producer on “The Mary Tyler Moore Show” (1970-77), that Moore truly made her mark.\u003c/p>\n\u003cp>At a time when women’s liberation was catching on worldwide, her character brought to TV audiences an independent, 1970s career woman. Other than Marlo Thomas’ 1960s sitcom character “That Girl,” who at least had a steady boyfriend, there were few precedents.\u003c/p>\n\u003cp>Mary Richards was comfortable being single in her 30s, and while she dated, she wasn’t desperate to get married. She sparred affectionately with her gruff boss, Lou Grant, played by Ed Asner and addressed always as “Mr. Grant.” And millions agreed with the show’s theme song that she could “turn the world on with her smile.”\u003c/p>\n\u003cp>The show was filled with laughs. But no episode was more memorable than the bittersweet finale when new management fired the entire WJM News staff — everyone but the preening, clueless anchorman, Ted Baxter. Thus did the series dare to question whether Mary Richards actually did “make it after all.”\u003c/p>\n\u003cp>The series ran seven seasons and won 29 Emmys, a record that stood for a quarter century until \u003cem>Frasier\u003c/em> broke it in 2002.\u003c/p>\n\u003cp>\u003cem>The Mary Tyler Moore Show\u003c/em> spawned the spin-offs \u003cem>Rhoda\u003c/em>, (1974-78), starring Valerie Harper; \u003cem>Phyllis\u003c/em> (1975-77), starring Cloris Leachman; and \u003cem>Lou Grant\u003c/em> (1977-82), starring Asner in a rare drama spun off from a comedy.\u003c/p>\n\u003cp>Mary Richards “certainly was never a character that I had to develop when we were doing the show,” Moore said in a 1995 interview with The Associated Press. “Everything I did was by the seat of the pants. I reacted to every written situation the way I would have in real life.”\u003c/p>\n\u003cp>She likened being linked with that role to “growing up with a mother who is a very famous actress. There are all kinds of wonderful perks that go with it, and then there are little resentments, too.\u003c/p>\n\u003cp>“My life is inextricably intertwined with Mary Richards’, and probably always will be,” she said.\u003c/p>\n\u003cp>\u003cem>Mary Tyler Moore\u003c/em> was the first in a series of acclaimed, award-winning shows she produced with her second husband, Grant Tinker, who died in November 2016, through their MTM Enterprises. (The meowing kitten at the end of the shows was a parody of the MGM lion.) \u003cem>The Bob Newhart Show\u003c/em>, \u003cem>Hill Street Blues\u003c/em>, \u003cem>St. Elsewhere\u003c/em> and \u003cem>WKRP in Cincinnati\u003c/em> are among the MTM series that followed.\u003c/p>\n\u003cp>Moore won her seventh Emmy in 1993, for supporting actress in a miniseries or special, for a Lifetime network movie, \u003cem>Stolen Babies\u003c/em>. She had won two for \u003cem>The Dick Van Dyke Show\u003c/em> and the other four for \u003cem>Mary Tyler Moore\u003c/em>.\u003c/p>\n\u003cp>At the time, her seven tied her with former co-star Asner for the record of prime-time Emmy acting wins. Another co-star, Leachman, later surpassed them with eight prime-time Emmys in acting and variety show categories.\u003c/p>\n\u003cp>In 2012, Moore received the Screen Actors Guild’s lifetime achievement award.\u003c/p>\n\u003cp>Moore never achieved the individual success with a television series that she enjoyed with \u003cem>Mary Tyler Moore\u003c/em>.\u003c/p>\n\u003cp>She starred in two different programs called \u003cem>Mary\u003c/em> — one, a comedy/variety hour similar to “The Carol Burnett Show,” lasted only a few episodes in 1978. Another variety show, “The Mary Tyler Moore Hour,” spent a few months on the air in 1979.\u003c/p>\n\u003cp>The second \u003cem>Mary\u003c/em>, a sitcom in which Moore played a divorced Chicago newspaper columnist, bounced between time slots for about six months before being canceled in 1986.\u003c/p>\n\u003cp>Then in fall 1986, another flop: \u003cem>Annie McGuire\u003c/em>, in which she played a divorced woman who had remarried for the second time. It lasted just two months.\u003c/p>\n\u003cp>She also asked to be written out of \u003cem>New York News\u003c/em>, a drama set at a newspaper, which aired for two months in 1995.\u003c/p>\n\u003cp>On the big screen, Moore’s appearances were less frequent. She was a 1920s flapper in the hit 1967 musical \u003cem>Thoroughly Modern Millie\u003c/em> and a nun who falls for Elvis Presley in \u003cem>Change of Habit\u003c/em> in 1969.\u003c/p>\n\u003cp>She turned to serious drama in 1980’s \u003cem>Ordinary People\u003c/em>, playing an affluent, bitter mother who loses a son in an accident. The film won the Oscar for best picture and best director for Robert Redford, and it earned Moore an Oscar nomination and a Golden Globe. She also played the mother of a dying girl in 1982’s \u003cem>Six Weeks\u003c/em> and real-life cancer survivor Betty Rollin in a 1978 TV movie, \u003cem>First You Cry\u003c/em>.\u003c/p>\n\u003cp>Moore endured personal tragedy in real life, too. The same year Ordinary People came out, her only child, Richard, who’d had trouble in school and with drugs, accidentally shot himself at 24. Her younger sister, Elizabeth, died at 21 from a combination of a painkillers and alcohol.\u003c/p>\n\u003cp>In her 1995 autobiography \u003cem>After All\u003c/em>, Moore admitted she helped her terminally ill brother try to commit suicide by feeding him ice cream laced with a deadly overdose of drugs. The attempt failed, and her 47-year-old brother, John, died three months later in 1992 of kidney cancer.\u003c/p>\n\u003cp>Moore herself lived with juvenile diabetes for some 40 years and told of her struggle in her 2009 book, \u003cem>Growing Up Again\u003c/em>. She also spent five weeks at the Betty Ford Clinic in 1984 for alcohol abuse, writing that they “transformed my life — and gave me a chance to start growing up — even at my advanced age … of 45.”\u003c/p>\n\u003cp>She served as chairwoman of the Juvenile Diabetes Foundation International, supported embryonic stem cell research and was active in animal rights causes.\u003c/p>\n\u003cp>In 1983, Moore married cardiologist Robert Levine, who survives her. Her marriage to Tinker lasted from 1962 to 1981. Before that, she was married to Dick Meeker from 1955 to 1961.\u003c/p>\n\u003cp>Moore was born in 1936 in Brooklyn; the family moved to California when she was around 8 years old.\u003c/p>\n\u003cp>She began dancing lessons as a child and launched her career while still in her teens, appearing in TV commercials. In the mid-’50s, she was a dancing sprite called \u003cem>Happy Hotpoint\u003c/em> in Hotpoint appliance ads.\u003c/p>\n\u003cp>One of her early TV series roles was as a secretary who was unseen, except for her legs, on “Richard Diamond, Private Detective.”\u003c/p>\n\u003cp>She arrived at \u003cem>The Dick Van Dyke Show\u003c/em> at age 24, a dancer with few acting credits and scant evidence of any gift for being funny.\u003c/p>\n\u003cp>Decades later, Carl Reiner, who created the show, still marveled at the comic genius he discovered and nurtured.\u003c/p>\n\u003cp>“She was a very quick study,” he recalled in 2014. “It didn’t take her very long.”\u003c/p>\n\u003cp>It was start of a comic legacy.\u003c/p>\n\u003cp>In 1992, Moore received a star on the Hollywood Walk of Fame. A decade later, a life-size bronze statue went on display in Minneapolis, depicting her tossing her trademark tam into the air as she did in the opening credits of \u003cem>The Mary Tyler Moore Show\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "A Six-Year-Old Girl Reviews 'A Walk to Remember'",
"title": "A Six-Year-Old Girl Reviews 'A Walk to Remember'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Released on Jan. 25, 2002, the Mandy Moore classic \u003cem>A Walk To Remember\u003c/em> is celebrating its 15th anniversary today. \u003cem>Entertainment Tonight\u003c/em> has \u003ca href=\"http://www.etonline.com/movies/208097_a_walk_to_remember_turns_15_take_a_trip_down_memory_lane_with_mandy_moore_and_shane_west/\" target=\"_blank\">the video interview\u003c/a> with Moore and Shane West; \u003cem>Entertainment Weekly\u003c/em> has \u003ca href=\"http://ew.com/movies/2017/01/25/mandy-moore-shane-west-walk-to-remember/\" target=\"_blank\">the Q&A\u003c/a>; and Moore herself has the \u003ca href=\"https://www.instagram.com/p/BPsXyp-gD4h/\" target=\"_blank\">Instagram post asking fans for their favorite scenes\u003c/a>.\u003c/p>\n\u003cp>To add to the festivities, we've chosen to honor the film the best way we know how: by showing \u003cem>A Walk to Remember\u003c/em> to a six-year-old girl and asking her to write down what she thinks. Here she is: Lena!\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-60764\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/LenaFarting-800x559.jpg\" alt=\"LenaFarting\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-768x537.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-240x168.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-375x262.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Our request was simple -- we asked Lena to pause the movie when she felt any strong emotions, and to write them down in a small notepad when she did. We promise we did not guide her or feed her any ideas; all thoughts are her own.\u003c/p>\n\u003cp>Let's go scene by scene, presented with her comments -- and followed by her summary of \u003cem>A Walk to Remember\u003c/em> that will melt your heart.\u003c/p>\n\u003ch2>1.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60767\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk1.jpg\" alt=\"Walk1\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60738\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.17.42 PM\" width=\"1129\" height=\"496\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM.png 1129w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-800x351.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-768x337.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-1020x448.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-960x422.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-375x165.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-520x228.png 520w\" sizes=\"(max-width: 1129px) 100vw, 1129px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60737\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.18.03 PM\" width=\"1130\" height=\"496\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM.png 1130w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-800x351.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-768x337.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-1020x448.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-960x421.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-375x165.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-520x228.png 520w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003c/a>\u003c/p>\n\u003ch2>2.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60768\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk2.jpg\" alt=\"Walk2\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60736\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.19.50 PM\" width=\"1134\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM.png 1134w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-160x69.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-800x346.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-768x332.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-1020x441.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-960x415.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-240x104.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-375x162.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-520x225.png 520w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60735\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.20.57 PM\" width=\"1132\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM.png 1132w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-800x348.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-768x334.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-1020x443.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-960x417.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-240x104.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-375x163.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-520x226.png 520w\" sizes=\"(max-width: 1132px) 100vw, 1132px\">\u003c/a>\u003c/p>\n\u003ch2>3.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60769\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk3.jpg\" alt=\"Walk3\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60732\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.29.37 PM\" width=\"1133\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM.png 1133w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-160x69.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-800x347.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-768x334.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-1020x443.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-960x417.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-240x104.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-375x163.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-520x226.png 520w\" sizes=\"(max-width: 1133px) 100vw, 1133px\">\u003c/a>\u003c/p>\n\u003ch2>4.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60770\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk4.jpg\" alt=\"Walk4\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60731\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.32.06 PM\" width=\"1131\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM.png 1131w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-800x349.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-768x335.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-1020x445.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-960x418.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-375x163.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-520x227.png 520w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cimg class=\"aligncenter size-full wp-image-60730\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.32.21 PM\" width=\"1134\" height=\"496\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM.png 1134w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-800x350.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-768x336.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-1020x446.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-960x420.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-375x164.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-520x227.png 520w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003c/a>\u003c/p>\n\u003ch2>5.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60771\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk5.jpg\" alt=\"Walk5\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/a-walk-to-remember-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-60729\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/a-walk-to-remember-5.gif\" alt=\"a-walk-to-remember-5\" width=\"500\" height=\"220\">\u003c/a>\u003c/p>\n\u003ch2>6.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60772\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk6.jpg\" alt=\"Walk6\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/sickness.gif\">\u003cimg class=\"aligncenter size-full wp-image-60725\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/sickness.gif\" alt=\"sickness\" width=\"500\" height=\"278\">\u003c/a>\u003c/p>\n\u003ch2>7.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60773\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk7.jpg\" alt=\"Walk7\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/hqdefault.jpg\">\u003cimg class=\"aligncenter size-full wp-image-60727\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/hqdefault.jpg\" alt=\"hqdefault\" width=\"480\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault-375x281.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003ch2>8.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60774\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk8.jpg\" alt=\"Walk8\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60739\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/13283495.gif\" alt=\"13283495\" width=\"500\" height=\"173\">\u003c/p>\n\u003ch2>9.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60775\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk9.jpg\" alt=\"Walk9\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/1465431211-tumblr-mptr5zv37i1sw9vgvo1-500.gif\">\u003cimg class=\"aligncenter size-full wp-image-60741\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/1465431211-tumblr-mptr5zv37i1sw9vgvo1-500.gif\" alt=\"1465431211-tumblr-mptr5zv37i1sw9vgvo1-500\" width=\"500\" height=\"205\">\u003c/a>\u003c/p>\n\u003ch2>10.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60776\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk10.jpg\" alt=\"Walk10\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60723\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\" alt=\"original\" width=\"500\" height=\"213\">\u003c/p>\n\u003ch2>Epilogue\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60777\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk11.jpg\" alt=\"Walk11\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\n",
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"excerpt": "We asked a first-grader with a notepad to write down her thoughts while watching Mandy Moore's classic film.",
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"description": "We asked a first-grader with a notepad to write down her thoughts while watching Mandy Moore's classic film.",
"title": "A Six-Year-Old Girl Reviews 'A Walk to Remember' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Released on Jan. 25, 2002, the Mandy Moore classic \u003cem>A Walk To Remember\u003c/em> is celebrating its 15th anniversary today. \u003cem>Entertainment Tonight\u003c/em> has \u003ca href=\"http://www.etonline.com/movies/208097_a_walk_to_remember_turns_15_take_a_trip_down_memory_lane_with_mandy_moore_and_shane_west/\" target=\"_blank\">the video interview\u003c/a> with Moore and Shane West; \u003cem>Entertainment Weekly\u003c/em> has \u003ca href=\"http://ew.com/movies/2017/01/25/mandy-moore-shane-west-walk-to-remember/\" target=\"_blank\">the Q&A\u003c/a>; and Moore herself has the \u003ca href=\"https://www.instagram.com/p/BPsXyp-gD4h/\" target=\"_blank\">Instagram post asking fans for their favorite scenes\u003c/a>.\u003c/p>\n\u003cp>To add to the festivities, we've chosen to honor the film the best way we know how: by showing \u003cem>A Walk to Remember\u003c/em> to a six-year-old girl and asking her to write down what she thinks. Here she is: Lena!\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-60764\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/LenaFarting-800x559.jpg\" alt=\"LenaFarting\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-768x537.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-240x168.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-375x262.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/LenaFarting-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Our request was simple -- we asked Lena to pause the movie when she felt any strong emotions, and to write them down in a small notepad when she did. We promise we did not guide her or feed her any ideas; all thoughts are her own.\u003c/p>\n\u003cp>Let's go scene by scene, presented with her comments -- and followed by her summary of \u003cem>A Walk to Remember\u003c/em> that will melt your heart.\u003c/p>\n\u003ch2>1.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60767\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk1.jpg\" alt=\"Walk1\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk1-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60738\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.17.42 PM\" width=\"1129\" height=\"496\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM.png 1129w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-800x351.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-768x337.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-1020x448.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-960x422.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-375x165.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.17.42-PM-520x228.png 520w\" sizes=\"(max-width: 1129px) 100vw, 1129px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60737\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.18.03 PM\" width=\"1130\" height=\"496\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM.png 1130w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-800x351.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-768x337.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-1020x448.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-960x421.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-375x165.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.18.03-PM-520x228.png 520w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003c/a>\u003c/p>\n\u003ch2>2.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60768\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk2.jpg\" alt=\"Walk2\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk2-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60736\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.19.50 PM\" width=\"1134\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM.png 1134w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-160x69.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-800x346.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-768x332.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-1020x441.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-960x415.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-240x104.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-375x162.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.19.50-PM-520x225.png 520w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60735\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.20.57 PM\" width=\"1132\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM.png 1132w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-800x348.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-768x334.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-1020x443.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-960x417.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-240x104.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-375x163.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.20.57-PM-520x226.png 520w\" sizes=\"(max-width: 1132px) 100vw, 1132px\">\u003c/a>\u003c/p>\n\u003ch2>3.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60769\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk3.jpg\" alt=\"Walk3\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk3-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60732\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.29.37 PM\" width=\"1133\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM.png 1133w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-160x69.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-800x347.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-768x334.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-1020x443.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-960x417.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-240x104.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-375x163.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.29.37-PM-520x226.png 520w\" sizes=\"(max-width: 1133px) 100vw, 1133px\">\u003c/a>\u003c/p>\n\u003ch2>4.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60770\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk4.jpg\" alt=\"Walk4\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk4-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-60731\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.32.06 PM\" width=\"1131\" height=\"493\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM.png 1131w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-800x349.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-768x335.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-1020x445.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-960x418.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-375x163.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.06-PM-520x227.png 520w\" sizes=\"(max-width: 1131px) 100vw, 1131px\">\u003cimg class=\"aligncenter size-full wp-image-60730\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM.png\" alt=\"Screen Shot 2017-01-25 at 1.32.21 PM\" width=\"1134\" height=\"496\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM.png 1134w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-160x70.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-800x350.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-768x336.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-1020x446.png 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-960x420.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-240x105.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-375x164.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Screen-Shot-2017-01-25-at-1.32.21-PM-520x227.png 520w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003c/a>\u003c/p>\n\u003ch2>5.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60771\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk5.jpg\" alt=\"Walk5\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk5-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/a-walk-to-remember-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-60729\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/a-walk-to-remember-5.gif\" alt=\"a-walk-to-remember-5\" width=\"500\" height=\"220\">\u003c/a>\u003c/p>\n\u003ch2>6.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60772\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk6.jpg\" alt=\"Walk6\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk6-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/sickness.gif\">\u003cimg class=\"aligncenter size-full wp-image-60725\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/sickness.gif\" alt=\"sickness\" width=\"500\" height=\"278\">\u003c/a>\u003c/p>\n\u003ch2>7.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60773\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk7.jpg\" alt=\"Walk7\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk7-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/hqdefault.jpg\">\u003cimg class=\"aligncenter size-full wp-image-60727\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/hqdefault.jpg\" alt=\"hqdefault\" width=\"480\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/hqdefault-375x281.jpg 375w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003c/a>\u003c/p>\n\u003ch2>8.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60774\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk8.jpg\" alt=\"Walk8\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk8-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60739\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/13283495.gif\" alt=\"13283495\" width=\"500\" height=\"173\">\u003c/p>\n\u003ch2>9.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60775\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk9.jpg\" alt=\"Walk9\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk9-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/1465431211-tumblr-mptr5zv37i1sw9vgvo1-500.gif\">\u003cimg class=\"aligncenter size-full wp-image-60741\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/1465431211-tumblr-mptr5zv37i1sw9vgvo1-500.gif\" alt=\"1465431211-tumblr-mptr5zv37i1sw9vgvo1-500\" width=\"500\" height=\"205\">\u003c/a>\u003c/p>\n\u003ch2>10.\u003c/h2>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60776\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk10.jpg\" alt=\"Walk10\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk10-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60723\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/original.gif\" alt=\"original\" width=\"500\" height=\"213\">\u003c/p>\n\u003ch2>Epilogue\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-60777\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/Walk11.jpg\" alt=\"Walk11\" width=\"600\" height=\"666\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-160x178.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-240x266.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-375x416.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/01/Walk11-520x577.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Despite growing up in San Francisco, filmmaker Ari Gold has never shot a project in his hometown. His goofy 2008 feature \u003ca href=\"http://www.adventuresofpower.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Adventures of Power\u003c/em>\u003c/a> is set in New Mexico and New Jersey, while his short \u003cem>\u003ca href=\"https://vimeo.com/170525079\" target=\"_blank\" rel=\"noopener\">Culture\u003c/a>\u003c/em> was filmed in a New York City studio. And even though Gold’s Student Academy Award-winner \u003cem>Helicopter\u003c/em> has scenes set in the city, the streetscapes are really just fabrications, built with toy Victorians on a train set model. \u003c/p>\n\u003cp>Though his career has taken shape in New York and Los Angeles, Gold still has notable familial roots in Northern California. Twin brother Ethan is a local musician, and his father Herbert is a well-known Beat novelist. Gold’s mother Melissa is well-known too, but not for the happiest of reasons: in 1991, she and the music promoter Bill Graham — her boyfriend at the time — perished in a helicopter crash near Vallejo. \u003c/p>\n\u003cp>Melissa’s tragic death inspired \u003cem>Helicopter\u003c/em>, a frenetic hybrid of documentary, animation, and fiction. It’s remarkably different from the traditional narratives that usually come out of NYU’s film school. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DAk0ep76WEg\u003c/p>\n\u003cp>“I have to do everything according to how it feels emotionally,” Gold says of his approach to directing, which includes both traditional and non-traditional styles of filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, his professors at NYU thought differently. So in order to make \u003cem>Helicopter\u003c/em>, Gold had to disregard much of their advice, and his only guide was an editing teacher who understood the overall vision. While this maverick approach eventually paid off for Gold, he doesn’t recommend it for every student. \u003c/p>\n\u003cp>“It’s hard to say ‘ignore your teachers,’ because I think you can learn a lot from a teacher and you can learn a lot from their pushback,” he says. “If you’re going to break narrative rules and find yourselves at odds with your school, you better know why. You better not just be because you don’t like following instructions.”\u003c/p>\n\u003cp>In fact, Gold is perfectly comfortable obeying instructions — especially when he’s the one who’s written them. \u003cem>Culture\u003c/em>, produced at NYU and part of Film School Shorts’ fourth season, is a minute-long experiment that follows the 10 rules “set forth in dogma [of] Ari Gold Films.” Though completed just before 2000, the short is surprisingly timeless. While Gold says he wouldn’t change anything about his “suicidal glorification of violence,” he thinks the audience’s interpretation of \u003cem>Culture\u003c/em> has evolved over the last two decades. \u003c/p>\n\u003caside class=\"aligncenter nobrder\">\nhttps://vimeo.com/170525079\u003cbr>\n\u003c/aside>\n\u003cp>“It becomes less and less shocking with each passing year, and in that sense, maybe it shows its age,” he says. When it first screened at Sundance and SXSW back in 1999, “it felt like a slap in the face in the right way, like a wake-up slap,” Gold says. “Now, I think with the insanity of stuff that’s even produced just on YouTube, it might not have the same effect.”\u003c/p>\n\u003cp>Gold has been busy lately completing his second feature, \u003cem>Song of Sway Lake\u003c/em>, plus a novel, a film installation, and more. He’s currently scouting locations for his third original film, and he has plans to re-envision \u003cem>Helicopter\u003c/em> with three to five new shorts. Each will refract off of the original and will follow a new set of rules, this time authored by Gold’s mentor, Alejandro Jodorowsky, director of \u003ci>The Holy Mountain\u003c/i> and \u003ci>El Topo\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Only this time, Gold will actually shoot in San Francisco. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite growing up in San Francisco, filmmaker Ari Gold has never shot a project in his hometown. His goofy 2008 feature \u003ca href=\"http://www.adventuresofpower.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Adventures of Power\u003c/em>\u003c/a> is set in New Mexico and New Jersey, while his short \u003cem>\u003ca href=\"https://vimeo.com/170525079\" target=\"_blank\" rel=\"noopener\">Culture\u003c/a>\u003c/em> was filmed in a New York City studio. And even though Gold’s Student Academy Award-winner \u003cem>Helicopter\u003c/em> has scenes set in the city, the streetscapes are really just fabrications, built with toy Victorians on a train set model. \u003c/p>\n\u003cp>Though his career has taken shape in New York and Los Angeles, Gold still has notable familial roots in Northern California. Twin brother Ethan is a local musician, and his father Herbert is a well-known Beat novelist. Gold’s mother Melissa is well-known too, but not for the happiest of reasons: in 1991, she and the music promoter Bill Graham — her boyfriend at the time — perished in a helicopter crash near Vallejo. \u003c/p>\n\u003cp>Melissa’s tragic death inspired \u003cem>Helicopter\u003c/em>, a frenetic hybrid of documentary, animation, and fiction. It’s remarkably different from the traditional narratives that usually come out of NYU’s film school. \u003c/p>\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/DAk0ep76WEg'\n title='//www.youtube.com/embed/DAk0ep76WEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I have to do everything according to how it feels emotionally,” Gold says of his approach to directing, which includes both traditional and non-traditional styles of filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, his professors at NYU thought differently. So in order to make \u003cem>Helicopter\u003c/em>, Gold had to disregard much of their advice, and his only guide was an editing teacher who understood the overall vision. While this maverick approach eventually paid off for Gold, he doesn’t recommend it for every student. \u003c/p>\n\u003cp>“It’s hard to say ‘ignore your teachers,’ because I think you can learn a lot from a teacher and you can learn a lot from their pushback,” he says. “If you’re going to break narrative rules and find yourselves at odds with your school, you better know why. You better not just be because you don’t like following instructions.”\u003c/p>\n\u003cp>In fact, Gold is perfectly comfortable obeying instructions — especially when he’s the one who’s written them. \u003cem>Culture\u003c/em>, produced at NYU and part of Film School Shorts’ fourth season, is a minute-long experiment that follows the 10 rules “set forth in dogma [of] Ari Gold Films.” Though completed just before 2000, the short is surprisingly timeless. While Gold says he wouldn’t change anything about his “suicidal glorification of violence,” he thinks the audience’s interpretation of \u003cem>Culture\u003c/em> has evolved over the last two decades. \u003c/p>\n\u003caside class=\"aligncenter nobrder\">\nhttps://vimeo.com/170525079\u003cbr>\n\u003c/aside>\n\u003cp>“It becomes less and less shocking with each passing year, and in that sense, maybe it shows its age,” he says. When it first screened at Sundance and SXSW back in 1999, “it felt like a slap in the face in the right way, like a wake-up slap,” Gold says. “Now, I think with the insanity of stuff that’s even produced just on YouTube, it might not have the same effect.”\u003c/p>\n\u003cp>Gold has been busy lately completing his second feature, \u003cem>Song of Sway Lake\u003c/em>, plus a novel, a film installation, and more. He’s currently scouting locations for his third original film, and he has plans to re-envision \u003cem>Helicopter\u003c/em> with three to five new shorts. Each will refract off of the original and will follow a new set of rules, this time authored by Gold’s mentor, Alejandro Jodorowsky, director of \u003ci>The Holy Mountain\u003c/i> and \u003ci>El Topo\u003c/i>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Only this time, Gold will actually shoot in San Francisco. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hooray for #OscarsLessWhite — Now What About the Next Four Years?",
"headTitle": "Hooray for #OscarsLessWhite — Now What About the Next Four Years? | KQED",
"content": "\u003cp>At long last, the Academy Awards got younger, blacker and hipper. Not all the way down the line, mind you, but enough to mark a sea change in Oscar’s inclusiveness after some \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">high-profile hashtag criticism\u003c/a>. Most visibly, six of the 20 acting nominees are black. Even more remarkable, a small, seemingly niche independent film about gay black men in Florida (\u003cem>\u003ca href=\"http://moonlight.movie/\" target=\"_blank\" rel=\"noopener\">Moonlight\u003c/a>\u003c/em>) was nominated for Best Picture, as well as Director, Supporting Actor, Adapted Screenplay, Cinematography, Editing and Original Score.\u003c/p>\n\u003cp>Three of the Documentary Feature finalists center on black protagonists and race (\u003cem>\u003ca href=\"http://www.iamnotyournegrofilm.com/\" target=\"_blank\" rel=\"noopener\">I Am Not Your Negro\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.espn.com/30for30/ojsimpsonmadeinamerica/\" target=\"_blank\" rel=\"noopener\">O.J.: Made in America\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener\">13th\u003c/a>\u003c/em>), which was anticipated given the attention each film generated. More surprising, though, is the domination of the Adapted Screenplay category by black stories (\u003cem>\u003ca href=\"http://www.fencesmovie.com/\" target=\"_blank\" rel=\"noopener\">Fences\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.foxmovies.com/movies/hidden-figures\" target=\"_blank\" rel=\"noopener\">Hidden Figures\u003c/a>\u003c/em> and \u003cem>Moonlight\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12672631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/fences-800.jpg\" alt=\"Viola Davis and Denzel Washington in 'Fences.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis and Denzel Washington in ‘Fences.’ \u003ccite>(David Lee/Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can’t count \u003cem>Moonlight\u003c/em>’s Barry Jenkins, who shot his wonderful 2008 debut \u003cem>Medicine for Melancholy\u003c/em> in San Francisco, as a local filmmaker anymore, so the Bay Area contingent consists of nominees for documentary shorts: Dan Kraus (\u003cem>\u003ca href=\"https://www.netflix.com/title/80106307\" target=\"_blank\" rel=\"noopener\">Extremis\u003c/a>\u003c/em>, his second nomination in this category) and U.C. Berkeley journalism grad Daphne Matziaraki (\u003cem>\u003ca href=\"https://www.nytimes.com/2016/09/28/opinion/4-1-miles.html\" target=\"_blank\" rel=\"noopener\">4.1 Miles\u003c/a>\u003c/em>). Pixar wasn’t a serious contender this year for Best Animated Feature, but is nominated for Best Animated Short (\u003cem>Piper\u003c/em>); the company also took some solace in the billion dollars that \u003cem>Finding Dory\u003c/em> grossed around the world.\u003c/p>\n\u003cp>The voting took place in the wake of the general election, and it’s conceivable that the results made some Academy members more determined to support minority artists and marginalized stories. However, \u003ca href=\"https://www.nytimes.com/2017/01/08/arts/television/meryl-streep-golden-globes-speech.html\" target=\"_blank\" rel=\"noopener\">Meryl Streep’s gutsy speech at the Golden Globes\u003c/a> ceremony took place after Oscar balloting closed, so neither her remarks nor a perverse desire to troll the Tweeter-in-Chief (who dismissed La Streep as “overrated”) played a part in her Best Actress nomination for \u003cem>\u003ca href=\"http://www.florencefosterjenkinsmovie.com/\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12672633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg\" alt=\"Ashton Sanders in Barry Jenkins' 'Moonlight.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashton Sanders in Barry Jenkins’ ‘Moonlight.’\u003cbr> \u003ccite>(David Bornfriend/Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is all to say it’s delving much too deeply into the tea leaves to describe this batch of Oscar nominations as fallout from Donald Trump’s selection to the Oval Office. However, we can certainly anticipate that a slew of acceptance speeches on Oscar night (Feb. 26) will call out his policies and name-check social agencies and arts nonprofits. (I’ll set the over/under at five.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A more interesting question is whether the kind of movies that get funded and made — by the studios as well as by independent financiers — will change over the next year or two. Studios focused on mainstream blockbusters and the international box office might feel more of an urge to sand the edges and dialogue. But streaming services like Netflix and Amazon, with their vast household penetration, are not only immune to political and box-office pressure but actively program for the left-leaning half of the country.\u003c/p>\n\u003cfigure id=\"attachment_12672632\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg\" alt=\"A still from 'Hidden Figures.'\" width=\"1200\" height=\"646\" class=\"size-full wp-image-12672632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-520x280.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Hidden Figures.’ \u003ccite>(Courtesy of 20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the present, and as a counterbalance to \u003cem>Moonlight\u003c/em>’s breakthrough, the overall domination of \u003cem>\u003ca href=\"http://www.lalaland.movie/\" target=\"_blank\" rel=\"noopener\">La La Land\u003c/a>\u003c/em> (14 nominations) could be viewed as a measure of the Academy’s residual conservatism. Movie musicals are willfully anachronistic throwbacks, of course, and escapism with a dollop of artistry is catnip to older Academy voters. \u003cem>La La Land\u003c/em> embodies Hollywood’s primary mission: entertainment. And the film’s chutzpah — that is, its very existence — won admirers in every demographic.\u003c/p>\n\u003cp>The Old Guard’s presence is reflected in the Best Picture nomination for the bloody war picture \u003cem>\u003ca href=\"http://www.hacksawridge.movie/\" target=\"_blank\" rel=\"noopener\">Hacksaw Ridge\u003c/a>\u003c/em> and the Best Director nod to its, ahem, deeply flawed comeback kid, Mel Gibson. (Lead Andrew Garfield was also nominated for Best Actor.) I’ll be rooting against the movie on Oscar Night for one simple reason: I don’t want to see a picture of Trump and Gibson shaking hands at the White House.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>See all the Academy Award nominees at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2017\" target=\"_blank\" rel=\"noopener\">oscars.org\u003c/a> and watch the ceremony on Sunday, Feb. 26.\u003c/i>\u003c/p>\n\n",
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"excerpt": "At long last, the Academy Awards got younger, blacker and hipper. Will this trend continue in the years ahead?",
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"title": "Hooray for #OscarsLessWhite — Now What About the Next Four Years? | KQED",
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"headline": "Hooray for #OscarsLessWhite — Now What About the Next Four Years?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At long last, the Academy Awards got younger, blacker and hipper. Not all the way down the line, mind you, but enough to mark a sea change in Oscar’s inclusiveness after some \u003ca href=\"https://ww2.kqed.org/arts/2016/02/26/the-bay-area-talks-back-to-hollywood/\" target=\"_blank\" rel=\"noopener\">high-profile hashtag criticism\u003c/a>. Most visibly, six of the 20 acting nominees are black. Even more remarkable, a small, seemingly niche independent film about gay black men in Florida (\u003cem>\u003ca href=\"http://moonlight.movie/\" target=\"_blank\" rel=\"noopener\">Moonlight\u003c/a>\u003c/em>) was nominated for Best Picture, as well as Director, Supporting Actor, Adapted Screenplay, Cinematography, Editing and Original Score.\u003c/p>\n\u003cp>Three of the Documentary Feature finalists center on black protagonists and race (\u003cem>\u003ca href=\"http://www.iamnotyournegrofilm.com/\" target=\"_blank\" rel=\"noopener\">I Am Not Your Negro\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.espn.com/30for30/ojsimpsonmadeinamerica/\" target=\"_blank\" rel=\"noopener\">O.J.: Made in America\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.netflix.com/title/80091741\" target=\"_blank\" rel=\"noopener\">13th\u003c/a>\u003c/em>), which was anticipated given the attention each film generated. More surprising, though, is the domination of the Adapted Screenplay category by black stories (\u003cem>\u003ca href=\"http://www.fencesmovie.com/\" target=\"_blank\" rel=\"noopener\">Fences\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.foxmovies.com/movies/hidden-figures\" target=\"_blank\" rel=\"noopener\">Hidden Figures\u003c/a>\u003c/em> and \u003cem>Moonlight\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_12672631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/fences-800.jpg\" alt=\"Viola Davis and Denzel Washington in 'Fences.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/fences-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis and Denzel Washington in ‘Fences.’ \u003ccite>(David Lee/Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We can’t count \u003cem>Moonlight\u003c/em>’s Barry Jenkins, who shot his wonderful 2008 debut \u003cem>Medicine for Melancholy\u003c/em> in San Francisco, as a local filmmaker anymore, so the Bay Area contingent consists of nominees for documentary shorts: Dan Kraus (\u003cem>\u003ca href=\"https://www.netflix.com/title/80106307\" target=\"_blank\" rel=\"noopener\">Extremis\u003c/a>\u003c/em>, his second nomination in this category) and U.C. Berkeley journalism grad Daphne Matziaraki (\u003cem>\u003ca href=\"https://www.nytimes.com/2016/09/28/opinion/4-1-miles.html\" target=\"_blank\" rel=\"noopener\">4.1 Miles\u003c/a>\u003c/em>). Pixar wasn’t a serious contender this year for Best Animated Feature, but is nominated for Best Animated Short (\u003cem>Piper\u003c/em>); the company also took some solace in the billion dollars that \u003cem>Finding Dory\u003c/em> grossed around the world.\u003c/p>\n\u003cp>The voting took place in the wake of the general election, and it’s conceivable that the results made some Academy members more determined to support minority artists and marginalized stories. However, \u003ca href=\"https://www.nytimes.com/2017/01/08/arts/television/meryl-streep-golden-globes-speech.html\" target=\"_blank\" rel=\"noopener\">Meryl Streep’s gutsy speech at the Golden Globes\u003c/a> ceremony took place after Oscar balloting closed, so neither her remarks nor a perverse desire to troll the Tweeter-in-Chief (who dismissed La Streep as “overrated”) played a part in her Best Actress nomination for \u003cem>\u003ca href=\"http://www.florencefosterjenkinsmovie.com/\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12672633\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg\" alt=\"Ashton Sanders in Barry Jenkins' 'Moonlight.'\" width=\"800\" height=\"449\" class=\"size-full wp-image-12672633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/moonlight-800-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashton Sanders in Barry Jenkins’ ‘Moonlight.’\u003cbr> \u003ccite>(David Bornfriend/Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which is all to say it’s delving much too deeply into the tea leaves to describe this batch of Oscar nominations as fallout from Donald Trump’s selection to the Oval Office. However, we can certainly anticipate that a slew of acceptance speeches on Oscar night (Feb. 26) will call out his policies and name-check social agencies and arts nonprofits. (I’ll set the over/under at five.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A more interesting question is whether the kind of movies that get funded and made — by the studios as well as by independent financiers — will change over the next year or two. Studios focused on mainstream blockbusters and the international box office might feel more of an urge to sand the edges and dialogue. But streaming services like Netflix and Amazon, with their vast household penetration, are not only immune to political and box-office pressure but actively program for the left-leaning half of the country.\u003c/p>\n\u003cfigure id=\"attachment_12672632\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg\" alt=\"A still from 'Hidden Figures.'\" width=\"1200\" height=\"646\" class=\"size-full wp-image-12672632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/hidden-figures-1200-520x280.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Hidden Figures.’ \u003ccite>(Courtesy of 20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back to the present, and as a counterbalance to \u003cem>Moonlight\u003c/em>’s breakthrough, the overall domination of \u003cem>\u003ca href=\"http://www.lalaland.movie/\" target=\"_blank\" rel=\"noopener\">La La Land\u003c/a>\u003c/em> (14 nominations) could be viewed as a measure of the Academy’s residual conservatism. Movie musicals are willfully anachronistic throwbacks, of course, and escapism with a dollop of artistry is catnip to older Academy voters. \u003cem>La La Land\u003c/em> embodies Hollywood’s primary mission: entertainment. And the film’s chutzpah — that is, its very existence — won admirers in every demographic.\u003c/p>\n\u003cp>The Old Guard’s presence is reflected in the Best Picture nomination for the bloody war picture \u003cem>\u003ca href=\"http://www.hacksawridge.movie/\" target=\"_blank\" rel=\"noopener\">Hacksaw Ridge\u003c/a>\u003c/em> and the Best Director nod to its, ahem, deeply flawed comeback kid, Mel Gibson. (Lead Andrew Garfield was also nominated for Best Actor.) I’ll be rooting against the movie on Oscar Night for one simple reason: I don’t want to see a picture of Trump and Gibson shaking hands at the White House.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>See all the Academy Award nominees at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2017\" target=\"_blank\" rel=\"noopener\">oscars.org\u003c/a> and watch the ceremony on Sunday, Feb. 26.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
"source": "npr"
},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"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"
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},
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"id": "fresh-air",
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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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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"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": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"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": {
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"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",
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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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"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/",
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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"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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