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"content": "\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\u003c/p>\n\u003cp>https://youtu.be/q-RBA0xoaWU\u003c/p>\n\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If it ain’t woke, don’t fix it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\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/q-RBA0xoaWU'\n title='//www.youtube.com/embed/q-RBA0xoaWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cblockquote>\n\u003cp>\u003cem>\u003cstrong>In film school we made our films as quickly as possible, it was more like a sprint. Making a documentary is a marathon.\u003c/strong>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Milena Pastreich\u003c/strong>, director of \u003cstrong>\u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/i-feel-stupid/\" rel=\"noopener\">I Feel Stupid\u003c/a>\u003c/em>\u003c/strong>, recently launched a \u003ca target=\"_blank\" href=\"https://www.kickstarter.com/projects/284589334/pigeon-kings-feature-documentary\" rel=\"noopener\">Kickstarter campaign\u003c/a> for her upcoming feature documentary \u003cem>Pigeon Kings\u003c/em>, and she took some time to tell \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/19/i-feel-stupid-director-milena-pastreich-talks-about-her-new-documentary-pigeon-kings/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/19/i-feel-stupid-director-milena-pastreich-talks-about-her-new-documentary-pigeon-kings/\" target=\"_blank\" title=\"‘I Feel Stupid’ Director Milena Pastreich Talks About Her New Documentary ‘Pigeon Kings’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\n\u003cp>\u003cem>\u003cstrong>In film school we made our films as quickly as possible, it was more like a sprint. Making a documentary is a marathon.\u003c/strong>\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Milena Pastreich\u003c/strong>, director of \u003cstrong>\u003cem>\u003ca target=\"_blank\" href=\"http://blogs.kqed.org/filmschoolshorts/films/i-feel-stupid/\" rel=\"noopener\">I Feel Stupid\u003c/a>\u003c/em>\u003c/strong>, recently launched a \u003ca target=\"_blank\" href=\"https://www.kickstarter.com/projects/284589334/pigeon-kings-feature-documentary\" rel=\"noopener\">Kickstarter campaign\u003c/a> for her upcoming feature documentary \u003cem>Pigeon Kings\u003c/em>, and she took some time to tell \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/19/i-feel-stupid-director-milena-pastreich-talks-about-her-new-documentary-pigeon-kings/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/19/i-feel-stupid-director-milena-pastreich-talks-about-her-new-documentary-pigeon-kings/\" target=\"_blank\" title=\"‘I Feel Stupid’ Director Milena Pastreich Talks About Her New Documentary ‘Pigeon Kings’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The Only Way to Process Angelina Jolie and Brad Pitt's Divorce",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/286278032&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sunshine poured through my bedroom window this morning and woke me up. I smiled. Another glorious day. Then I reached for my phone and saw I had 9 unread text messages. \u003cem>This can't be good\u003c/em>, I thought. All of them said the same thing: BRANGELINA IS DUNZO. LOVE IS DEAD! followed by all the exasperated, depressed, sweating emojis.\u003c/p>\n\u003cp>Love is a lie. The era of celebrity couple portmanteaus is over.\u003c/p>\n\u003cp>There is only one way to process all of this.\u003c/p>\n\u003cp>Click play on the song below and listen as you slowly scroll down through happier times:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ozKsQnRHb-c\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-37855\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/anigif_enhanced-2763-1428517696-11.gif\" alt=\"anigif_enhanced-2763-1428517696-11\" width=\"245\" height=\"176\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-37852\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/cb873e20-6eb0-0133-4d6d-0e3f8b958f63.gif\" alt=\"cb873e20-6eb0-0133-4d6d-0e3f8b958f63\" width=\"245\" height=\"233\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-37856\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/d4beae20-af12-0132-4544-0ebc4eccb42f.gif\" alt=\"d4beae20-af12-0132-4544-0ebc4eccb42f\" width=\"400\" height=\"224\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-37857\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_lf5egyAG5B1qc6tgvo1_500.gif\" alt=\"tumblr_lf5egyAG5B1qc6tgvo1_500\" width=\"425\" height=\"240\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-37850\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/brad-pitt-and-angelina-jolies-new-movie-together-will-be-called-by-the-sea.gif\" alt=\"brad-pitt-and-angelina-jolies-new-movie-together-will-be-called-by-the-sea\" width=\"450\" height=\"253\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-37853\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/bradandangiearemarriedwhoot814.gif\" alt=\"bradandangiearemarriedwhoot814\" width=\"500\" height=\"211\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-37859\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/angelina-jolie-brad-pitt-possibly-making-movie-together.gif\" alt=\"angelina-jolie-brad-pitt-possibly-making-movie-together\" width=\"500\" height=\"250\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-37858\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/angelina-jolie-brad-pitt-wedding-gift-ernest-hemingway-typewriter.gif\" alt=\"angelina-jolie-brad-pitt-wedding-gift-ernest-hemingway-typewriter\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_nb1hb2myoY1ry5ul7o3_500.gif\">\u003cimg class=\"aligncenter size-full wp-image-37843\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_nb1hb2myoY1ry5ul7o3_500.gif\" alt=\"tumblr_nb1hb2myoY1ry5ul7o3_500\" width=\"500\" 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src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/tumblr_ndg9zwDMyg1rqbv0uo1_500.gif\" alt=\"tumblr_ndg9zwDMyg1rqbv0uo1_500\" width=\"500\" height=\"198\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-37861\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/EMGNBestCryingScenes1.gif\" alt=\"EMGNBestCryingScenes1\" width=\"466\" height=\"264\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>For more thoughts and feelings on the dissolution of Brangelina, listen to this episode of \u003cem>The Cooler\u003c/em>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/286278032&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/286278032&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Sunshine poured through my bedroom window this morning and woke me up. I smiled. Another glorious day. Then I reached for my phone and saw I had 9 unread text messages. \u003cem>This can't be good\u003c/em>, I thought. All of them said the same thing: BRANGELINA IS DUNZO. LOVE IS DEAD! followed by all the exasperated, depressed, sweating emojis.\u003c/p>\n\u003cp>Love is a lie. The era of celebrity couple portmanteaus is over.\u003c/p>\n\u003cp>There is only one way to process all of this.\u003c/p>\n\u003cp>Click play on the song below and listen as you slowly scroll down through happier times:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Now Playing! Take No Prisoners with Sam Fuller Documentary",
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"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12041917\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Fuller10.jpg\" alt=\"Samuel Fuller\" width=\"640\" height=\"534\" class=\"size-full wp-image-12041917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Fuller10.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Fuller10-400x334.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samuel Fuller \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>A Fuller Life\u003c/i>\u003c/h3>\n\u003ch5>Roxie Theater, San Francisco and Smith Rafael Film Center, San Rafael\u003cbr>\nSept. 23-25\u003c/h5>\n\u003cp>A reporter, screenwriter and pulp novelist until 1941, Army Corporal Sam Fuller landed at Normandy and shot 16mm film of the liberation of the concentration camp at Faulkenau. You think he came back and made romantic comedies? Nah, he wrote and directed take-no-prisoners movies like \u003cem>Shock Corridor\u003c/em> and \u003cem>Pick Up on South Street\u003c/em>. \u003c/p>\n\u003cp>Samantha Fuller, the filmmaker’s daughter, screens her new documentary \u003cem>A Fuller Life\u003c/em> at the \u003ca href=\"http://www.roxie.com/ai1ec_event/samuel-fuller-fuller-life/?instance_id=14648\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> and the \u003ca href=\"http://rafaelfilm.cafilm.org/samuel-fuller/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> this weekend, along with a hefty chunk of Sam’s work. \u003c/p>\n\u003cp>Need any more incentive? Christa Lang-Fuller, the man’s muse and collaborator and Samantha’s mom, shares the stage. And if you want another reason to celebrate, Sept. 24 is Art House Theater Day.\u003c/p>\n\u003cfigure id=\"attachment_12041916\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200.jpg\" alt=\"Still from 'Pick Up on South Street.'\" width=\"1200\" height=\"917\" class=\"size-full wp-image-12041916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-785x600.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-1180x902.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-960x734.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Pick Up on South Street.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hong Kong Cinema\u003c/h3>\n\u003ch5>Embarcadero Center Cinemas, San Francisco\u003cbr>\nSept. 23-25\u003cbr>\nTickets: $14-15\n\u003c/h5>\u003cp>Savvy filmgoers figured out years ago that there was more cinematic energy coming out of Hong Kong than Hollywood. The SF Film Society’s annual survey of new work and revered masters encompasses a murder mystery (\u003cem>Kill Time\u003c/em>), a poignant drama of Taiwanese sisters separated as children (\u003cem>Murmur of the Hearts\u003c/em>), a baseball underdog tale (\u003cem>Weeds On Fire\u003c/em>) and a Johnnie To action blowout (\u003cem>Three\u003c/em>). \u003ca href=\"http://www.sffs.org/exhibition/hong-kong-cinema#.V8jBkmUqb8s\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> honors Stanley Kwan with an opening night revival of his epic 1991 drama \u003cem>Center Stage\u003c/em>, starring peak-strength Maggie Cheung as Chinese silent film star Ruan Ling-yu.\u003c/p>\n\u003cfigure id=\"attachment_12041915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200.jpg\" alt=\"Still from 'Murmur of the Hearts.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12041915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Murmur of the Hearts.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>Another week where you have to be caffeinated to the max to catch everything worthwhile. A new documentary about the Swiss-born photographer and filmmaker, \u003cem>Robert Frank: Don’t Blink\u003c/em>, plays \u003ca href=\"https://www.ybca.org/whats-on/robert-frank\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center For the Arts\u003c/a> Sept. 22-25 (with a bonus show of a couple of his vintage films).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local filmmaker Robert Arnold is at the \u003ca href=\"http://www.roxie.com/ai1ec_event/the-exchange/?instance_id=14752\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> Sept. 22 with \u003cem>The Exchange\u003c/em>, the new indie feature he made with Cynthia Mitchell and Rachel Krief inspired by those smart, talky French relationship movies that give philosophy a good name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You must have heard that the late, great Anna Magnani haunts the Castro Sept. 24 in \u003ca href=\"http://prod3.agileticketing.net/websales/pages/list.aspx?epguid=ac1a2009-b847-4637-8848-da0ee8d006fe&\" target=\"_blank\" rel=\"noopener\">four (count ‘em, four!) marvelous films\u003c/a> before segueing to BAMPFA in Berkeley the next day for an even more immersive \u003ca href=\"http://www.bampfa.berkeley.edu/program/anna-magnani-eternal-soul-italian-cinema\" target=\"_blank\" rel=\"noopener\">retrospective\u003c/a>. They don’t make them like that anymore, that’s for sure.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_12041917\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Fuller10.jpg\" alt=\"Samuel Fuller\" width=\"640\" height=\"534\" class=\"size-full wp-image-12041917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Fuller10.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Fuller10-400x334.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Samuel Fuller \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>A Fuller Life\u003c/i>\u003c/h3>\n\u003ch5>Roxie Theater, San Francisco and Smith Rafael Film Center, San Rafael\u003cbr>\nSept. 23-25\u003c/h5>\n\u003cp>A reporter, screenwriter and pulp novelist until 1941, Army Corporal Sam Fuller landed at Normandy and shot 16mm film of the liberation of the concentration camp at Faulkenau. You think he came back and made romantic comedies? Nah, he wrote and directed take-no-prisoners movies like \u003cem>Shock Corridor\u003c/em> and \u003cem>Pick Up on South Street\u003c/em>. \u003c/p>\n\u003cp>Samantha Fuller, the filmmaker’s daughter, screens her new documentary \u003cem>A Fuller Life\u003c/em> at the \u003ca href=\"http://www.roxie.com/ai1ec_event/samuel-fuller-fuller-life/?instance_id=14648\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> and the \u003ca href=\"http://rafaelfilm.cafilm.org/samuel-fuller/\" target=\"_blank\" rel=\"noopener\">Smith Rafael Film Center\u003c/a> this weekend, along with a hefty chunk of Sam’s work. \u003c/p>\n\u003cp>Need any more incentive? Christa Lang-Fuller, the man’s muse and collaborator and Samantha’s mom, shares the stage. And if you want another reason to celebrate, Sept. 24 is Art House Theater Day.\u003c/p>\n\u003cfigure id=\"attachment_12041916\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200.jpg\" alt=\"Still from 'Pick Up on South Street.'\" width=\"1200\" height=\"917\" class=\"size-full wp-image-12041916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-400x306.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-785x600.jpg 785w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-768x587.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-1180x902.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/14-Pick-Up-On-South-Street-1200-960x734.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Pick Up on South Street.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Hong Kong Cinema\u003c/h3>\n\u003ch5>Embarcadero Center Cinemas, San Francisco\u003cbr>\nSept. 23-25\u003cbr>\nTickets: $14-15\n\u003c/h5>\u003cp>Savvy filmgoers figured out years ago that there was more cinematic energy coming out of Hong Kong than Hollywood. The SF Film Society’s annual survey of new work and revered masters encompasses a murder mystery (\u003cem>Kill Time\u003c/em>), a poignant drama of Taiwanese sisters separated as children (\u003cem>Murmur of the Hearts\u003c/em>), a baseball underdog tale (\u003cem>Weeds On Fire\u003c/em>) and a Johnnie To action blowout (\u003cem>Three\u003c/em>). \u003ca href=\"http://www.sffs.org/exhibition/hong-kong-cinema#.V8jBkmUqb8s\" target=\"_blank\" rel=\"noopener\">Hong Kong Cinema\u003c/a> honors Stanley Kwan with an opening night revival of his epic 1991 drama \u003cem>Center Stage\u003c/em>, starring peak-strength Maggie Cheung as Chinese silent film star Ruan Ling-yu.\u003c/p>\n\u003cfigure id=\"attachment_12041915\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200.jpg\" alt=\"Still from 'Murmur of the Hearts.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12041915\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Murmur_of_the_Hearts1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Murmur of the Hearts.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>Another week where you have to be caffeinated to the max to catch everything worthwhile. A new documentary about the Swiss-born photographer and filmmaker, \u003cem>Robert Frank: Don’t Blink\u003c/em>, plays \u003ca href=\"https://www.ybca.org/whats-on/robert-frank\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center For the Arts\u003c/a> Sept. 22-25 (with a bonus show of a couple of his vintage films).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local filmmaker Robert Arnold is at the \u003ca href=\"http://www.roxie.com/ai1ec_event/the-exchange/?instance_id=14752\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> Sept. 22 with \u003cem>The Exchange\u003c/em>, the new indie feature he made with Cynthia Mitchell and Rachel Krief inspired by those smart, talky French relationship movies that give philosophy a good name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You must have heard that the late, great Anna Magnani haunts the Castro Sept. 24 in \u003ca href=\"http://prod3.agileticketing.net/websales/pages/list.aspx?epguid=ac1a2009-b847-4637-8848-da0ee8d006fe&\" target=\"_blank\" rel=\"noopener\">four (count ‘em, four!) marvelous films\u003c/a> before segueing to BAMPFA in Berkeley the next day for an even more immersive \u003ca href=\"http://www.bampfa.berkeley.edu/program/anna-magnani-eternal-soul-italian-cinema\" target=\"_blank\" rel=\"noopener\">retrospective\u003c/a>. They don’t make them like that anymore, that’s for sure.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due",
"headTitle": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due | KQED",
"content": "\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Bokeem Woodbine (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kathy Bates (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Olivia Colman (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Regina King (\u003cem>American Crime\u003c/em>)\u003c/strong>\u003cbr>Melissa Leo (\u003cem>All the Way\u003c/em>)\u003cbr>Sarah Paulson (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Jean Smart (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hank Azaria (\u003cem>Ray Donovan\u003c/em>)\u003cbr>\u003c/strong>Mahershala Ali (\u003cem>House of Cards\u003c/em>)\u003cbr>Reg E. Cathey (\u003cem>House of Cards\u003c/em>)\u003cbr>Michael J. Fox (\u003cem>The Good Wife\u003c/em>)\u003cbr>Paul Sparks (\u003cem>House of Cards\u003c/em>)\u003cbr>Max von Sydow (\u003cem>Game of Thrones\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Margo Martindale (\u003cem>The Americans\u003c/em>)\u003cbr>\u003c/strong>Ellen Burstyn (\u003cem>House of Cards\u003c/em>)\u003cbr>Allison Janney (\u003cem>Masters of Sex\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>Horace and Pete\u003c/em>)\u003cbr>Molly Parker (\u003cem>House of Cards\u003c/em>)\u003cbr>Carrie Preston (\u003cem>The Good Wife\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Outstanding Guest Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Scolari (\u003cem>Girls\u003c/em>)\u003cbr>\u003c/strong>Larry David (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Tracy Morgan (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Martin Mull (\u003cem>Veep\u003c/em>)\u003cbr>Bob Newhart (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Bradley Whitford (\u003cem>Transparent\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tina Fey & Amy Poehler (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>\u003c/strong>Christine Baranski (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Melora Hardin (\u003cem>Transparent\u003c/em>)\u003cbr>Melissa McCarthy (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Saturday Night Live\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Talk Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Comedians in Cars Getting Coffee \u003c/em>(Crackle)\u003cbr>\u003cem>Jimmy Kimmel Live!\u003c/em> (ABC)\u003cbr>\u003cstrong>\u003cem>Last Week Tonight With John Oliver\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>The Late Late Show with James Corden\u003c/em> (CBS)\u003cbr>\u003cem>Real Time With Bill Maher\u003c/em> (HBO)\u003cbr>\u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Variety Show\u003c/strong>\u003c/p>\n\u003cp>Beth McCarthy-Miller (\u003cem>Adele Live In New York City\u003c/em>)\u003cbr>Chris Rock (\u003cem>Amy Schumer: Live At The Apollo\u003c/em>)\u003cbr>\u003cstrong>Thomas Kail and Alex Rudzinski (\u003cem>Grease: Live\u003c/em>)\u003cbr>\u003c/strong>Louis J. Horvitz (\u003cem>58th Grammy Awards\u003c/em>)\u003cbr>Glenn Weiss (\u003cem>The Kennedy Center Honors\u003c/em>)\u003cbr>Kahlil Joseph, Beyoncé Knowles Carter (\u003cem>Lemonade\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Variety Sketch Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Documentary Now! \u003c/em>(IFC)\u003cem>\u003cbr>\u003c/em>\u003cem>Drunk History\u003c/em> (Comedy Central)\u003cbr>\u003cem>Inside Amy Schumer\u003c/em> (Comedy Central)\u003cbr>\u003cstrong>\u003cem>Key & Peele\u003c/em> (Comedy Central)\u003c/strong>\u003cbr>\u003cem>Portlandia\u003c/em> (IFC)\u003cbr>\u003cem>Saturday Night Live\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Special Class Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grease Live!\u003c/em> (FOX)\u003cbr>\u003c/strong>73rd Golden Globe Awards (NBC)\u003cbr>\u003cem>The Oscars\u003c/em> (ABC)\u003cbr>\u003cem>Super Bowl 50 Halftime Show\u003c/em> (CBS)\u003cbr>\u003cem>69th Annual Tony Awards\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Late Late Show Carpool Karaoke Prime Time Special \u003c/em>(CBS) (WINNER)\u003cbr>\u003c/strong>\u003cem>Adele Live in New York City\u003c/em> (NBC)\u003cbr>\u003cem>Amy Schumer: Live at the Apollo\u003c/em> (HBO)\u003cbr>\u003cem>Kennedy Center Honors\u003c/em> (CBS)\u003cbr>\u003cem>Lemonade\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Reality-Competition Program\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Amazing Race\u003c/em> (CBS)\u003cbr>\u003cem>American Ninja Warrior\u003c/em> (NBC)\u003cbr>\u003cem>Dancing With the Stars\u003c/em> (ABC)\u003cbr>\u003cem>Project Runway\u003c/em> (Lifetime)\u003cbr>\u003cem>Top Chef\u003c/em> (Bravo)\u003cbr>\u003cstrong>\u003cem>The Voice\u003c/em> (NBC)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Outstanding Host for a Reality or Reality-Competition\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>RuPaul Charles (\u003cem>RuPaul’s Drag Race\u003c/em>)\u003cbr>\u003c/strong>Ryan Seacrest (\u003cem>American Idol\u003c/em>)\u003cbr>Tom Bergeron (\u003cem>Dancing With the Stars\u003c/em>)\u003cbr>Jane Lynch (\u003cem>Hollywood Game Night\u003c/em>)\u003cbr>Steve Harvey (\u003cem>Little Big Shots\u003c/em>)\u003cbr>Heidi Klum and Tim Gunn (\u003cem>Project Runway\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Structured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Shark Tank\u003c/em> (ABC)\u003cbr>\u003c/strong>\u003cem>Antiques Roadshow\u003c/em> (PBS)\u003cbr>\u003cem>Diners, Drive-Ins and Dives\u003c/em> (Food Network)\u003cbr>\u003cem>Lip Sync Battle\u003c/em> (Spike)\u003cbr>\u003cem>MythBusters\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Undercover Boss\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Unstructured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Born This Way\u003c/em>\u003c/strong>\u003cstrong> (A&E)\u003cbr>\u003c/strong>\u003cem>Deadliest Catch\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Gaycation With Ellen Page\u003c/em> (Viceland)\u003cbr>\u003cem>Intervention\u003c/em> (A&E)\u003cbr>\u003cem>Project Greenlight\u003c/em> (HBO)\u003cbr>\u003cem>United Shades of America\u003c/em> (CNN)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What Happened, Miss Simone?\u003c/em> (Netflix)\u003cbr>\u003c/strong>\u003cem>Becoming Mike Nichols\u003c/em> (HBO)\u003cbr>\u003cem>Everything is Copy — Nora Ephron: Scripted & Unscripted\u003c/em> (HBO)\u003cbr>\u003cem>Listen to Me Marlon\u003c/em> (Showtime)\u003cbr>\u003cem>Mapplethorpe: Look at the Pictures\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making a Murderer\u003c/em>\u003c/strong>\u003cstrong> (Netflix)\u003cbr>\u003c/strong>\u003cem>American Masters\u003c/em> (PBS)\u003cbr>\u003cem>Chef’s Table\u003c/em> (Netflix)\u003cbr>\u003cem>The Seventies\u003c/em> (CNN)\u003cbr>\u003cem>Woman With Gloria Steinem\u003c/em> (Viceland)\u003c/p>\n\u003cp>\u003cstrong>Best Limited Series \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The People v. OJ Simpson\u003cbr>\u003c/em>\u003c/strong>\u003cem>American Crime\u003cbr>\u003c/em>\u003cem>Fargo\u003cbr>\u003c/em>\u003cem>The Night Manager\u003cbr>\u003c/em>\u003cem>Roots\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Variety Special\u003c/strong> \u003cstrong>\u003cbr> Patton Oswalt (\u003cem>Talking For Clapping)\u003cbr>\u003c/em>\u003c/strong>\u003cem>Amy Schumer (Amy Schumer: Live At The Apollo)\u003cbr>\u003c/em>\u003cem>John Mulaney (John Mulaney: The Comeback Kid)\u003cbr>\u003c/em>\u003cem>Tig Notaro (Tig Notaro: Boyish Girl Interrupted)\u003cbr>\u003c/em>\u003cem>(Triumph’s Election Special 2016)\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003cstrong>Best Informational Series or Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>\u003cem>Anthony Bourdain: Parts Unknown\u003c/em> (CNN)\u003cbr>\u003c/strong>\u003cem>Inside the Actors Studio\u003c/em> (Bravo)\u003cbr>\u003cem>Star Talk With Neil deGrasse Tyson\u003c/em> (National Geographic Channel)\u003cbr>\u003cem>The Story of God With Morgan Freeman\u003c/em> (National Geographic Channel)\u003cbr>\u003cem>Vice\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans, “\u003c/em>Persona Non Grata”\u003cem> \u003c/em>(FX), Written by Joel fields, Joe Weisenberg\u003cbr>\u003cem>Downton Abbey, “\u003c/em>Episode 8″\u003cem> \u003c/em>(PBS), Writen by Julian Fellowes\u003cbr>\u003cstrong>\u003cem>Game of Thrones, “\u003c/em>Battle Of The Bastards”\u003cem> \u003c/em>(HBO), Written by David Benioff, D.B. 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"excerpt": "'Game of Thrones', 'Veep' and 'The People v. O.J. Simpson' won for best drama, comedy and limited series — but some new names made splashes, too. NPR's pop culture crew live-tweeted the night's festivities.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Bokeem Woodbine (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kathy Bates (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Olivia Colman (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Regina King (\u003cem>American Crime\u003c/em>)\u003c/strong>\u003cbr>Melissa Leo (\u003cem>All the Way\u003c/em>)\u003cbr>Sarah Paulson (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Jean Smart (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hank Azaria (\u003cem>Ray Donovan\u003c/em>)\u003cbr>\u003c/strong>Mahershala Ali (\u003cem>House of Cards\u003c/em>)\u003cbr>Reg E. Cathey (\u003cem>House of Cards\u003c/em>)\u003cbr>Michael J. Fox (\u003cem>The Good Wife\u003c/em>)\u003cbr>Paul Sparks (\u003cem>House of Cards\u003c/em>)\u003cbr>Max von Sydow (\u003cem>Game of Thrones\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Margo Martindale (\u003cem>The Americans\u003c/em>)\u003cbr>\u003c/strong>Ellen Burstyn (\u003cem>House of Cards\u003c/em>)\u003cbr>Allison Janney (\u003cem>Masters of Sex\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>Horace and Pete\u003c/em>)\u003cbr>Molly Parker (\u003cem>House of Cards\u003c/em>)\u003cbr>Carrie Preston (\u003cem>The Good Wife\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Outstanding Guest Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Scolari (\u003cem>Girls\u003c/em>)\u003cbr>\u003c/strong>Larry David (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Tracy Morgan (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Martin Mull (\u003cem>Veep\u003c/em>)\u003cbr>Bob Newhart (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Bradley Whitford (\u003cem>Transparent\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tina Fey & Amy Poehler (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>\u003c/strong>Christine Baranski (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Melora Hardin (\u003cem>Transparent\u003c/em>)\u003cbr>Melissa McCarthy (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Saturday Night Live\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Talk Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Comedians in Cars Getting Coffee \u003c/em>(Crackle)\u003cbr>\u003cem>Jimmy Kimmel Live!\u003c/em> (ABC)\u003cbr>\u003cstrong>\u003cem>Last Week Tonight With John Oliver\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>The Late Late Show with James Corden\u003c/em> (CBS)\u003cbr>\u003cem>Real Time With Bill Maher\u003c/em> (HBO)\u003cbr>\u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Variety Show\u003c/strong>\u003c/p>\n\u003cp>Beth McCarthy-Miller (\u003cem>Adele Live In New York City\u003c/em>)\u003cbr>Chris Rock (\u003cem>Amy Schumer: Live At The Apollo\u003c/em>)\u003cbr>\u003cstrong>Thomas Kail and Alex Rudzinski (\u003cem>Grease: Live\u003c/em>)\u003cbr>\u003c/strong>Louis J. Horvitz (\u003cem>58th Grammy Awards\u003c/em>)\u003cbr>Glenn Weiss (\u003cem>The Kennedy Center Honors\u003c/em>)\u003cbr>Kahlil Joseph, Beyoncé Knowles Carter (\u003cem>Lemonade\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Variety Sketch Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Documentary Now! \u003c/em>(IFC)\u003cem>\u003cbr>\u003c/em>\u003cem>Drunk History\u003c/em> (Comedy Central)\u003cbr>\u003cem>Inside Amy Schumer\u003c/em> (Comedy Central)\u003cbr>\u003cstrong>\u003cem>Key & Peele\u003c/em> (Comedy Central)\u003c/strong>\u003cbr>\u003cem>Portlandia\u003c/em> (IFC)\u003cbr>\u003cem>Saturday Night Live\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Special Class Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grease Live!\u003c/em> (FOX)\u003cbr>\u003c/strong>73rd Golden Globe Awards (NBC)\u003cbr>\u003cem>The Oscars\u003c/em> (ABC)\u003cbr>\u003cem>Super Bowl 50 Halftime Show\u003c/em> (CBS)\u003cbr>\u003cem>69th Annual Tony Awards\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Late Late Show Carpool Karaoke Prime Time Special \u003c/em>(CBS) (WINNER)\u003cbr>\u003c/strong>\u003cem>Adele Live in New York City\u003c/em> (NBC)\u003cbr>\u003cem>Amy Schumer: Live at the Apollo\u003c/em> (HBO)\u003cbr>\u003cem>Kennedy Center Honors\u003c/em> (CBS)\u003cbr>\u003cem>Lemonade\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Reality-Competition Program\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Amazing Race\u003c/em> (CBS)\u003cbr>\u003cem>American Ninja Warrior\u003c/em> (NBC)\u003cbr>\u003cem>Dancing With the Stars\u003c/em> (ABC)\u003cbr>\u003cem>Project Runway\u003c/em> (Lifetime)\u003cbr>\u003cem>Top Chef\u003c/em> (Bravo)\u003cbr>\u003cstrong>\u003cem>The Voice\u003c/em> (NBC)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Outstanding Host for a Reality or Reality-Competition\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>RuPaul Charles (\u003cem>RuPaul’s Drag Race\u003c/em>)\u003cbr>\u003c/strong>Ryan Seacrest (\u003cem>American Idol\u003c/em>)\u003cbr>Tom Bergeron (\u003cem>Dancing With the Stars\u003c/em>)\u003cbr>Jane Lynch (\u003cem>Hollywood Game Night\u003c/em>)\u003cbr>Steve Harvey (\u003cem>Little Big Shots\u003c/em>)\u003cbr>Heidi Klum and Tim Gunn (\u003cem>Project Runway\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Structured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Shark Tank\u003c/em> (ABC)\u003cbr>\u003c/strong>\u003cem>Antiques Roadshow\u003c/em> (PBS)\u003cbr>\u003cem>Diners, Drive-Ins and Dives\u003c/em> (Food Network)\u003cbr>\u003cem>Lip Sync Battle\u003c/em> (Spike)\u003cbr>\u003cem>MythBusters\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Undercover Boss\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Unstructured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Born This Way\u003c/em>\u003c/strong>\u003cstrong> (A&E)\u003cbr>\u003c/strong>\u003cem>Deadliest Catch\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Gaycation With Ellen Page\u003c/em> (Viceland)\u003cbr>\u003cem>Intervention\u003c/em> (A&E)\u003cbr>\u003cem>Project Greenlight\u003c/em> (HBO)\u003cbr>\u003cem>United Shades of America\u003c/em> (CNN)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What Happened, Miss Simone?\u003c/em> (Netflix)\u003cbr>\u003c/strong>\u003cem>Becoming Mike Nichols\u003c/em> (HBO)\u003cbr>\u003cem>Everything is Copy — Nora Ephron: Scripted & Unscripted\u003c/em> (HBO)\u003cbr>\u003cem>Listen to Me Marlon\u003c/em> (Showtime)\u003cbr>\u003cem>Mapplethorpe: Look at the Pictures\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making a Murderer\u003c/em>\u003c/strong>\u003cstrong> (Netflix)\u003cbr>\u003c/strong>\u003cem>American Masters\u003c/em> (PBS)\u003cbr>\u003cem>Chef’s Table\u003c/em> (Netflix)\u003cbr>\u003cem>The Seventies\u003c/em> (CNN)\u003cbr>\u003cem>Woman With Gloria Steinem\u003c/em> (Viceland)\u003c/p>\n\u003cp>\u003cstrong>Best Limited Series \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The People v. 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"content": "\u003cp>As further proof that this presidential campaign is everywhere, Sunday night's Emmys stage featured several nods to the candidates as well as the current political climate. Here are some highlights:\u003c/p>\n\u003cp>\u003cstrong>1. Julia Louis-Dreyfus' wall\u003c/strong>\u003c/p>\n\u003cp>Accepting an Emmy for outstanding lead actress in a comedy, the \u003cem>Veep\u003c/em> star issued a \"personal apology\" for today's political climate and made light of Donald Trump's proposal to build a wall at the U.S.-Mexico border. \"Our show started out as a political satire, but it now feels more like a sobering documentary,\" she said. \"So I certainly do promise to rebuild that wall and make Mexico pay for it.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DaCLhIaqimY\u003c/p>\n\u003cp>\u003cstrong>2. Jeb! is back\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former Florida Gov. Jeb Bush, who floundered in the presidential primary, came back Sunday night as an Uber driver to host Jimmy Kimmel (\"I'm in between jobs right now,\" Bush says). The scene was part of Kimmel's opening monologue in which he's trying to get to the ceremony. Bush picks him up, then kicks him out of the car and speeds off, poking fun at the negativity of the race along the way:\u003c/p>\n\u003cblockquote>\u003cp>Bush: Are you nominated?\u003c/p>\n\u003cp>Kimmel: I am, yeah.\u003c/p>\n\u003cp>Bush: Wow, what's that like?\u003c/p>\n\u003cp>Kimmel: It's nice, it's nice.\u003c/p>\n\u003cp>Bush: You think you can win?\u003c/p>\n\u003cp>Kimmel: There's a lot of competition. And, probably not.\u003c/p>\n\u003cp>Bush: Well, here's what I know. If you run a positive campaign, the voters ultimately will make the right choice.\u003c/p>\n\u003cp>Kimmel: It's funny you say that, my psychic —\u003c/p>\n\u003cp>Bush: Jimmy, that was a joke. Get out of the car. And shave that wig off your face you godless Hollywood hippie. Jeb exclamation point!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r54CqBhoIjk\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>3. Kate McKinnon thanks Hillary Clinton\u003c/strong>\u003c/p>\n\u003cp>SNL's McKinnon, who has portrayed Clinton on the show, won for outstanding supporting actress in a comedy series. She thanked Hillary Clinton in her speech. Here's a throwback to McKinnon and Clinton on the show together:\u003c/p>\n\u003cp>http://www.hulu.com/watch/852289\u003c/p>\n\u003cp>\u003cstrong>4. \"Obama out\"\u003c/strong>\u003c/p>\n\u003cp>Courtney B. Vance won an Emmy for his performance as lawyer Johnnie Cochran in \u003cem>The People v. O.J. Simpson\u003c/em>. After thanking his laundry list, he ended his speech with a (rather odd) shoutout: \"Obama out, Hillary in!\"\u003c/p>\n\u003cp>https://gifs.com/gif/2kMm5A\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+The+4+Best+Political+Moments+From+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former Florida Gov. Jeb Bush, who floundered in the presidential primary, came back Sunday night as an Uber driver to host Jimmy Kimmel (\"I'm in between jobs right now,\" Bush says). The scene was part of Kimmel's opening monologue in which he's trying to get to the ceremony. Bush picks him up, then kicks him out of the car and speeds off, poking fun at the negativity of the race along the way:\u003c/p>\n\u003cblockquote>\u003cp>Bush: Are you nominated?\u003c/p>\n\u003cp>Kimmel: I am, yeah.\u003c/p>\n\u003cp>Bush: Wow, what's that like?\u003c/p>\n\u003cp>Kimmel: It's nice, it's nice.\u003c/p>\n\u003cp>Bush: You think you can win?\u003c/p>\n\u003cp>Kimmel: There's a lot of competition. And, probably not.\u003c/p>\n\u003cp>Bush: Well, here's what I know. If you run a positive campaign, the voters ultimately will make the right choice.\u003c/p>\n\u003cp>Kimmel: It's funny you say that, my psychic —\u003c/p>\n\u003cp>Bush: Jimmy, that was a joke. Get out of the car. And shave that wig off your face you godless Hollywood hippie. Jeb exclamation point!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r54CqBhoIjk\u003c/p>\u003c/blockquote>\n\u003cp>\u003cstrong>3. Kate McKinnon thanks Hillary Clinton\u003c/strong>\u003c/p>\n\u003cp>SNL's McKinnon, who has portrayed Clinton on the show, won for outstanding supporting actress in a comedy series. She thanked Hillary Clinton in her speech. Here's a throwback to McKinnon and Clinton on the show together:\u003c/p>\n\u003cp>http://www.hulu.com/watch/852289\u003c/p>\n\u003cp>\u003cstrong>4. \"Obama out\"\u003c/strong>\u003c/p>\n\u003cp>Courtney B. Vance won an Emmy for his performance as lawyer Johnnie Cochran in \u003cem>The People v. O.J. Simpson\u003c/em>. After thanking his laundry list, he ended his speech with a (rather odd) shoutout: \"Obama out, Hillary in!\"\u003c/p>\n\u003cp>https://gifs.com/gif/2kMm5A\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+The+4+Best+Political+Moments+From+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv class=\"fullattribution\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Into The Woods, But Out of Ideas: A Tedious, Ugly, Pointless 'Blair Witch'",
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"content": "\u003cp>Seventeen years and at least as many parodies have passed since the release of \u003cem>The Blair Witch Project, \u003c/em>the nanobudget horror hoaxumentary that did blockbuster numbers and landed the three unknown actors who comprised its main cast on the cover of \u003cem>Newsweek. \u003c/em>(Writer-directors Daniel Myrick and Eduardo Sánchez had to settle for the cover of \u003cem>Time.\u003c/em>) It wasn’t the first found-footage spook-flick, but it was by far the most successful, thanks to its pioneering use of viral marketing.\u003cem> The Blair Witch Project\u003c/em> website — one of the first built to shill for a movie — presented phony police reports and news clippings to burnish the Blair Witch legend. The actors, who had supposedly vanished in the woods of Burkittsville, Maryland while shooting their “documentary” in 1994, were briefly the subject of a bogus missing persons campaign.\u003c/p>\n\u003cp>Even after Myrick and Sánchez admitted the whole thing was made up, much of the public remained credulous, or at least confused. You can’t entirely blame them. \u003cem>The Blair Witch Project\u003c/em>‘s marketing was ingenious, the web stuff propped up by the Sci-Fi channel’s “uncensored investigation” special \u003cem>Curse of the Blair Witch, \u003c/em>which\u003cem> \u003c/em>aired a few weeks before the feature’s theatrical release.\u003c/p>\n\u003cp>Recognizing that this particular iron couldn’t stay hot for long, distributor Artisan Entertainment rushed a quickie follow-up into theaters 15 months later. \u003cem>Blair Witch 2: Book of Shadows \u003c/em>wasn’t very good, but it was more ambitious than the frightfully lame new remake-quel \u003cem>Blair Witch,\u003c/em> from director Adam Wingard and screenwriter Simon Barrett. This pair, which has made several thrifty horror pictures together including the well-received \u003cem>You’re Next, \u003c/em>clearly have great affection for the original, and they express this fealty by replicating the Napster-era sensation almost beat for beat. But why? Unlike, say, Orson Welles’ groundbreaking hoaxumentary\u003cem> F for Fake, \u003c/em>which remains provocative and beguiling long after its initial gimmick has been revealed, or many of Christopher Guest’s fauxumentaries, which get funnier with repetition, that original \u003cem>Blair Witch\u003c/em> film\u003cem> \u003c/em>offers little incentive for you to return once you’ve heard the punchline.\u003c/p>\n\u003cp>Remember how\u003cem> Star Wars: The Force Awakens\u003c/em> was gently chided in some quarters for reprising \u003cem>Star Wars: A New Hope \u003c/em>a little too closely? Imagine if \u003cem>The Force Awakens \u003c/em>had not conjured up any members of the original \u003cem>Star Wars\u003c/em> cast, featured only bland new personalities instead of Daisey Ridley and John Boyega, and also looked no more lavish or impressive than \u003cem>A New Hope,\u003c/em> a picture made 40 years earlier.\u003c/p>\n\u003cp>That’s \u003cem>Blair Witch.\u003c/em> Tedious in its early going and all but unwatchable in its final half-hour, the movie feels interminable at a barely-feature-length 89 minutes. Maybe it’ll play better on Netflix, but it’s deeply unpleasant to experience on the big screen, where shaky handheld digital video is a lot more nauseating than when you’re watching it online. I’ll cop to having squinted and squirmed through much of the second half, but that’s just an autonomic response to shaky-cam-coupled with-loud-noises, not a tribute to Wingard’s ability to create tension. Spraying the audience with water while playing distorted audio recordings of people screaming would achieve the same effect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The premise is that paramedic James (James Allen McCune), who was a tyke when his big sister Heather went missing in 1994, has spent years trawling YouTube for evidence she might still be alive. (We’re told authorities combed the Burkittsville woods for the haunted house seen in the finale of \u003cem>The Blair Witch Project\u003c/em> but never found it.) When he finds a video that he believes to contain her image, he grabs his friend Lisa (Callie Hernandez), who needs to a make a documentary for a college course, and pals Corbin Reid and Brandon Scott (who come along though they hate camping), and tramps off into the forest with the two Burkittsville locals who uploaded the YouTube clip, played by Wes Robinson and Valerie Curry.\u003c/p>\n\u003cp>The addition of those latter two characters is the film’s sole stab at altering the formula: For it moment, it appears we’re going to have two rival camps of witch-hunters. But this isn’t nearly variety enough to justify a return trip. Even if you didn’t see \u003cem>The Blair Witch Project,\u003c/em> nothing that happens after sundown in the forbidding woods of Western Maryland (as played by Western Canada this time) will surprise you. This is a cursed place. Wristwatches and compasses and GPS trackers can find no purchase here. (Nor, apparently, can the image-stabilization software that didn’t exist in 1994, but has been standard in most digital cameras and smartphones for years.) Mysterious sigils appear overnight, hung from tree branches. There is something ancient and angry in these woods… and it’s really,\u003cem> really\u003c/em> into arts and crafts.\u003c/p>\n\u003cp>Found-footage horror pictures are an unbeatable investment; even the most polished (like 2008’s \u003cem>Cloverfield\u003c/em>) are still so cheap it’s virtually impossible for them not to turn a profit. And the format insulates the filmmakers from any criticism of their technical or narrative acuity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blair Witch Project\u003c/em> certainly benefited from these relaxed standards. Pivoting between tedium and terror, the movie was easier to admire than to like, and more fun to dissect than to watch. \u003cem>Blair Witch\u003c/em> 2016 isn’t fun to sit through or to ponder. This ugly, empty retread somehow cost $5 million, a figure that brings to mind Chris Rock’s great joke about its precursor: “Everyone’s like, ‘Oooh, it only cost $60,000.’ Where the hell did all the money go? Somebody’s walking around with $59,000 in their pocket.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Into+The+Woods%2C+But+Out+Of+Ideas%3A+A+Tedious%2C+Ugly%2C+Pointless+%27Blair+Witch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seventeen years and at least as many parodies have passed since the release of \u003cem>The Blair Witch Project, \u003c/em>the nanobudget horror hoaxumentary that did blockbuster numbers and landed the three unknown actors who comprised its main cast on the cover of \u003cem>Newsweek. \u003c/em>(Writer-directors Daniel Myrick and Eduardo Sánchez had to settle for the cover of \u003cem>Time.\u003c/em>) It wasn’t the first found-footage spook-flick, but it was by far the most successful, thanks to its pioneering use of viral marketing.\u003cem> The Blair Witch Project\u003c/em> website — one of the first built to shill for a movie — presented phony police reports and news clippings to burnish the Blair Witch legend. The actors, who had supposedly vanished in the woods of Burkittsville, Maryland while shooting their “documentary” in 1994, were briefly the subject of a bogus missing persons campaign.\u003c/p>\n\u003cp>Even after Myrick and Sánchez admitted the whole thing was made up, much of the public remained credulous, or at least confused. You can’t entirely blame them. \u003cem>The Blair Witch Project\u003c/em>‘s marketing was ingenious, the web stuff propped up by the Sci-Fi channel’s “uncensored investigation” special \u003cem>Curse of the Blair Witch, \u003c/em>which\u003cem> \u003c/em>aired a few weeks before the feature’s theatrical release.\u003c/p>\n\u003cp>Recognizing that this particular iron couldn’t stay hot for long, distributor Artisan Entertainment rushed a quickie follow-up into theaters 15 months later. \u003cem>Blair Witch 2: Book of Shadows \u003c/em>wasn’t very good, but it was more ambitious than the frightfully lame new remake-quel \u003cem>Blair Witch,\u003c/em> from director Adam Wingard and screenwriter Simon Barrett. This pair, which has made several thrifty horror pictures together including the well-received \u003cem>You’re Next, \u003c/em>clearly have great affection for the original, and they express this fealty by replicating the Napster-era sensation almost beat for beat. But why? Unlike, say, Orson Welles’ groundbreaking hoaxumentary\u003cem> F for Fake, \u003c/em>which remains provocative and beguiling long after its initial gimmick has been revealed, or many of Christopher Guest’s fauxumentaries, which get funnier with repetition, that original \u003cem>Blair Witch\u003c/em> film\u003cem> \u003c/em>offers little incentive for you to return once you’ve heard the punchline.\u003c/p>\n\u003cp>Remember how\u003cem> Star Wars: The Force Awakens\u003c/em> was gently chided in some quarters for reprising \u003cem>Star Wars: A New Hope \u003c/em>a little too closely? Imagine if \u003cem>The Force Awakens \u003c/em>had not conjured up any members of the original \u003cem>Star Wars\u003c/em> cast, featured only bland new personalities instead of Daisey Ridley and John Boyega, and also looked no more lavish or impressive than \u003cem>A New Hope,\u003c/em> a picture made 40 years earlier.\u003c/p>\n\u003cp>That’s \u003cem>Blair Witch.\u003c/em> Tedious in its early going and all but unwatchable in its final half-hour, the movie feels interminable at a barely-feature-length 89 minutes. Maybe it’ll play better on Netflix, but it’s deeply unpleasant to experience on the big screen, where shaky handheld digital video is a lot more nauseating than when you’re watching it online. I’ll cop to having squinted and squirmed through much of the second half, but that’s just an autonomic response to shaky-cam-coupled with-loud-noises, not a tribute to Wingard’s ability to create tension. Spraying the audience with water while playing distorted audio recordings of people screaming would achieve the same effect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The premise is that paramedic James (James Allen McCune), who was a tyke when his big sister Heather went missing in 1994, has spent years trawling YouTube for evidence she might still be alive. (We’re told authorities combed the Burkittsville woods for the haunted house seen in the finale of \u003cem>The Blair Witch Project\u003c/em> but never found it.) When he finds a video that he believes to contain her image, he grabs his friend Lisa (Callie Hernandez), who needs to a make a documentary for a college course, and pals Corbin Reid and Brandon Scott (who come along though they hate camping), and tramps off into the forest with the two Burkittsville locals who uploaded the YouTube clip, played by Wes Robinson and Valerie Curry.\u003c/p>\n\u003cp>The addition of those latter two characters is the film’s sole stab at altering the formula: For it moment, it appears we’re going to have two rival camps of witch-hunters. But this isn’t nearly variety enough to justify a return trip. Even if you didn’t see \u003cem>The Blair Witch Project,\u003c/em> nothing that happens after sundown in the forbidding woods of Western Maryland (as played by Western Canada this time) will surprise you. This is a cursed place. Wristwatches and compasses and GPS trackers can find no purchase here. (Nor, apparently, can the image-stabilization software that didn’t exist in 1994, but has been standard in most digital cameras and smartphones for years.) Mysterious sigils appear overnight, hung from tree branches. There is something ancient and angry in these woods… and it’s really,\u003cem> really\u003c/em> into arts and crafts.\u003c/p>\n\u003cp>Found-footage horror pictures are an unbeatable investment; even the most polished (like 2008’s \u003cem>Cloverfield\u003c/em>) are still so cheap it’s virtually impossible for them not to turn a profit. And the format insulates the filmmakers from any criticism of their technical or narrative acuity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Blair Witch Project\u003c/em> certainly benefited from these relaxed standards. Pivoting between tedium and terror, the movie was easier to admire than to like, and more fun to dissect than to watch. \u003cem>Blair Witch\u003c/em> 2016 isn’t fun to sit through or to ponder. This ugly, empty retread somehow cost $5 million, a figure that brings to mind Chris Rock’s great joke about its precursor: “Everyone’s like, ‘Oooh, it only cost $60,000.’ Where the hell did all the money go? Somebody’s walking around with $59,000 in their pocket.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Into+The+Woods%2C+But+Out+Of+Ideas%3A+A+Tedious%2C+Ugly%2C+Pointless+%27Blair+Witch%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Does Gwen Stefani's 'Harajuku' Cartoon Really Have Zero Japanese Characters In It?",
"title": "Does Gwen Stefani's 'Harajuku' Cartoon Really Have Zero Japanese Characters In It?",
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"content": "\u003cp>In 2004, if there had been an unofficial Queen of Cultural Appropriation, there is no doubt (pun intended) that Gwen Stefani would have worn the crown. The singer had previously committed a multitude of \u003ca href=\"http://cdn1-www.thefashionspot.com/assets/uploads/gallery/gwen-stefani-birthday/52969824.jpg\">bindi-related\u003c/a> crimes when still fronting her band, but nothing she'd done previously came even close to what happened when she released her debut solo album, \u003cem>Love. Angel. Music. Baby.\u003c/em>\u003c/p>\n\u003cp>Truly, the entire promotional cycle for this thing largely revolved around using silent, smiling Japanese women as human accessories. The four women were given dehumanizing pet names -- Love, Angel, Music and Baby (unsurprisingly) -- and paraded around as dancing props who, quite often, were dressed up in outfits that overtly played into Japanese stereotypes, including ones about schoolgirls. Their likenesses were also turned into perfume bottles and a variety of other clothing accessories for Stefani's L.A.M.B. brand.\u003c/p>\n\u003cp>In case you missed the horror show the first time around, hang onto your jaws and click play:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qecNL1266ms\u003c/p>\n\u003cp>Vocal opposition to Stefani's cultural insensitivity was loud at the time -- Margaret Cho comparing the Harajuku girls to a Minstrel show was \u003ca href=\"http://margaretcho.com/2005/10/31/harajuku-girls/\">particularly memorable\u003c/a> -- and it hasn't ever really died down. In 2014, \u003cem>Time\u003c/em> reminded us that Stefani had \"\u003ca href=\"http://time.com/3524847/gwen-stefani-racist-harajuku-girls/\">perpetuated some extremely racist stereotypes\u003c/a>,\" and \u003cem>Vice\u003c/em> did a 10-year anniversary article to pointedly look back on Stefani's \"\u003ca href=\"http://www.vice.com/read/revisiting-gwen-stefanis-racist-pop-frankenstein-ten-years-later-567\">Racist Pop Frankenstein Years\u003c/a>.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between that, plus the incident in 2012 when No Doubt had to apologize to Native Americans for the \"cowboys and Indians-themed\" video for \u003ca href=\"https://www.youtube.com/watch?v=40OSktBigHw\">\"Looking Hot\"\u003c/a> (which featured Stefani wearing traditional tribal clothing and DANCING IN A TEEPEE), you'd have thought the singer would have learned to question her own appropriation problems before making them yet again.\u003c/p>\n\u003cp>Nope!\u003c/p>\n\u003cp>Earlier this week, \u003ca href=\"http://www.nick.com/\">Nickelodeon\u003c/a> announced the Oct. 3 debut of \u003ca href=\"http://www.nick.com/kuu-kuu-harajuku/\">\u003cem>Kuu Kuu Harajuku\u003c/em>\u003c/a> -- a cartoon that revives Love, Angel, Music and Baby and puts them in a band (named HJ5) alongside a blond named \"G\" (guess who?). Stefani has said that the animated series is \"for young girls\" and \"celebrates creativity, imagination and individuality.\" Which sounds great until you see what the characters actually look like:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-36792\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-800x446.png\" alt=\"Screen Shot 2016-09-13 at 10.04.12 PM\" width=\"800\" height=\"446\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-800x446.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-400x223.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-768x429.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-1440x804.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-1920x1071.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-1180x658.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-960x536.png 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>You might be wondering where the Japanese girls are here. It's hard not to. The school uniforms are still there. And one girl has hair sticks. But these \"Harajuku\" girls, with their long legs, tiny waists, big boots and oversized, made-up eyes, more closely resemble \u003ca href=\"http://www.toysrus.com/graphics/product_images/pTRU1-20937459enh-z6.jpg\">Bratz\u003c/a> dolls (a brand frequently criticized for marketing overly-sexualized female body ideals to tweens) than anything related to \u003ca href=\"https://en.wikipedia.org/wiki/Harajuku\" target=\"_blank\">Harajuku culture.\u003c/a> It seems Stefani (or network executives) thought the best way to deal with the overt cultural appropriation was simply \"let's not have them be Asian anymore.\"\u003c/p>\n\u003cp>There are Stefani fans who will undoubtedly argue that if she had gone with an animated band of obviously Asian characters, that too would have been culturally insensitive. They will say that Gwen is damned if she does, and damned if she doesn't. But there is a very obvious and simple way for Stefani to avoid any more racial and cultural shadiness here: Just remove the word \"Harajuku\" from the show. Problem solved!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uOHAU13FfiI\u003c/p>\n\u003cp>Gwen Stefani is a well-established enough artist to make a successful animated show about five girls forming a Spice Girls-style band and having adventures without chucking the word \"Harajuku\" into the title -- especially, seemingly, for the sake of clinging to a problematic theme that she already exhausted 12 years ago. Too late now, though: the show has already been on in Australia for almost a year.\u003c/p>\n\u003cp>It might seem foolish to be upset about anything Gwen Stefani does at this point. Sure, this is \"only\" pop music and a children's TV show we're talking about. But to maintain a career this long, in the face of so much criticism, and to continue carelessly running amok with other nations' cultural, religious and traditional symbolism is truly astonishing at this point -- as is hanging onto the thinnest threads of stolen Harajuku girl culture to sell a very American cartoon.\u003c/p>\n\u003cp>In November of last year, in an interview with Australia's \u003cem>Sunshine Coast Daily\u003c/em>, to promote \u003cem>Kuu Kuu Harajuku\u003c/em>, Stefani said: \"The Harajuku Girls can do anything, they can wear anything, and they can be anything.\"\u003c/p>\n\u003cp>Anything, apparently, but inoffensive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Gwen Stefani's received plenty of criticism for her appropriation of Japanese culture. So why is she still not getting it right -- with a children's show, no less?",
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"description": "Gwen Stefani's received plenty of criticism for her appropriation of Japanese culture. So why is she still not getting it right -- with a children's show, no less?",
"title": "Does Gwen Stefani's 'Harajuku' Cartoon Really Have Zero Japanese Characters In It? | KQED",
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"headline": "Does Gwen Stefani's 'Harajuku' Cartoon Really Have Zero Japanese Characters In It?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2004, if there had been an unofficial Queen of Cultural Appropriation, there is no doubt (pun intended) that Gwen Stefani would have worn the crown. The singer had previously committed a multitude of \u003ca href=\"http://cdn1-www.thefashionspot.com/assets/uploads/gallery/gwen-stefani-birthday/52969824.jpg\">bindi-related\u003c/a> crimes when still fronting her band, but nothing she'd done previously came even close to what happened when she released her debut solo album, \u003cem>Love. Angel. Music. Baby.\u003c/em>\u003c/p>\n\u003cp>Truly, the entire promotional cycle for this thing largely revolved around using silent, smiling Japanese women as human accessories. The four women were given dehumanizing pet names -- Love, Angel, Music and Baby (unsurprisingly) -- and paraded around as dancing props who, quite often, were dressed up in outfits that overtly played into Japanese stereotypes, including ones about schoolgirls. Their likenesses were also turned into perfume bottles and a variety of other clothing accessories for Stefani's L.A.M.B. brand.\u003c/p>\n\u003cp>In case you missed the horror show the first time around, hang onto your jaws and click play:\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/qecNL1266ms'\n title='//www.youtube.com/embed/qecNL1266ms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vocal opposition to Stefani's cultural insensitivity was loud at the time -- Margaret Cho comparing the Harajuku girls to a Minstrel show was \u003ca href=\"http://margaretcho.com/2005/10/31/harajuku-girls/\">particularly memorable\u003c/a> -- and it hasn't ever really died down. In 2014, \u003cem>Time\u003c/em> reminded us that Stefani had \"\u003ca href=\"http://time.com/3524847/gwen-stefani-racist-harajuku-girls/\">perpetuated some extremely racist stereotypes\u003c/a>,\" and \u003cem>Vice\u003c/em> did a 10-year anniversary article to pointedly look back on Stefani's \"\u003ca href=\"http://www.vice.com/read/revisiting-gwen-stefanis-racist-pop-frankenstein-ten-years-later-567\">Racist Pop Frankenstein Years\u003c/a>.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between that, plus the incident in 2012 when No Doubt had to apologize to Native Americans for the \"cowboys and Indians-themed\" video for \u003ca href=\"https://www.youtube.com/watch?v=40OSktBigHw\">\"Looking Hot\"\u003c/a> (which featured Stefani wearing traditional tribal clothing and DANCING IN A TEEPEE), you'd have thought the singer would have learned to question her own appropriation problems before making them yet again.\u003c/p>\n\u003cp>Nope!\u003c/p>\n\u003cp>Earlier this week, \u003ca href=\"http://www.nick.com/\">Nickelodeon\u003c/a> announced the Oct. 3 debut of \u003ca href=\"http://www.nick.com/kuu-kuu-harajuku/\">\u003cem>Kuu Kuu Harajuku\u003c/em>\u003c/a> -- a cartoon that revives Love, Angel, Music and Baby and puts them in a band (named HJ5) alongside a blond named \"G\" (guess who?). Stefani has said that the animated series is \"for young girls\" and \"celebrates creativity, imagination and individuality.\" Which sounds great until you see what the characters actually look like:\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-36792\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-800x446.png\" alt=\"Screen Shot 2016-09-13 at 10.04.12 PM\" width=\"800\" height=\"446\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-800x446.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-400x223.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-768x429.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-1440x804.png 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-1920x1071.png 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-1180x658.png 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/09/Screen-Shot-2016-09-13-at-10.04.12-PM-960x536.png 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>You might be wondering where the Japanese girls are here. It's hard not to. The school uniforms are still there. And one girl has hair sticks. But these \"Harajuku\" girls, with their long legs, tiny waists, big boots and oversized, made-up eyes, more closely resemble \u003ca href=\"http://www.toysrus.com/graphics/product_images/pTRU1-20937459enh-z6.jpg\">Bratz\u003c/a> dolls (a brand frequently criticized for marketing overly-sexualized female body ideals to tweens) than anything related to \u003ca href=\"https://en.wikipedia.org/wiki/Harajuku\" target=\"_blank\">Harajuku culture.\u003c/a> It seems Stefani (or network executives) thought the best way to deal with the overt cultural appropriation was simply \"let's not have them be Asian anymore.\"\u003c/p>\n\u003cp>There are Stefani fans who will undoubtedly argue that if she had gone with an animated band of obviously Asian characters, that too would have been culturally insensitive. They will say that Gwen is damned if she does, and damned if she doesn't. But there is a very obvious and simple way for Stefani to avoid any more racial and cultural shadiness here: Just remove the word \"Harajuku\" from the show. Problem solved!\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/uOHAU13FfiI'\n title='//www.youtube.com/embed/uOHAU13FfiI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gwen Stefani is a well-established enough artist to make a successful animated show about five girls forming a Spice Girls-style band and having adventures without chucking the word \"Harajuku\" into the title -- especially, seemingly, for the sake of clinging to a problematic theme that she already exhausted 12 years ago. Too late now, though: the show has already been on in Australia for almost a year.\u003c/p>\n\u003cp>It might seem foolish to be upset about anything Gwen Stefani does at this point. Sure, this is \"only\" pop music and a children's TV show we're talking about. But to maintain a career this long, in the face of so much criticism, and to continue carelessly running amok with other nations' cultural, religious and traditional symbolism is truly astonishing at this point -- as is hanging onto the thinnest threads of stolen Harajuku girl culture to sell a very American cartoon.\u003c/p>\n\u003cp>In November of last year, in an interview with Australia's \u003cem>Sunshine Coast Daily\u003c/em>, to promote \u003cem>Kuu Kuu Harajuku\u003c/em>, Stefani said: \"The Harajuku Girls can do anything, they can wear anything, and they can be anything.\"\u003c/p>\n\u003cp>Anything, apparently, but inoffensive.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-free-comedy-a-rock-and-roll-summit-and-mariachi-for-mexican-independence-day",
"title": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day",
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"headTitle": "Cy and David’s Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day | KQED",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/283091934″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nffe0hVnD5o\u003c/p>\n\u003cp>\u003cstrong>Sept. 17\u003c/strong>: How nice to start at the top of Mt. Tamalpais with Sound Summit, an annual concert sponsored by the \u003ca href=\"http://soundsummit.net/roots-and-branches/\" target=\"_blank\" rel=\"noopener\">Roots & Branches Conservancy\u003c/a> for the benefit of fire prevention, water conservation and visitor services on Mt. Tam. The headliners are \u003ca href=\"http://wilcoworld.net/schmilco/\" target=\"_blank\" rel=\"noopener\">Wilco\u003c/a>, fresh from a stint at the Fillmore, plus \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\" rel=\"noopener\">Los Lobos\u003c/a>, the Stone Foxes, and Bill Frisell doing his album \u003cem>Guitar in the Space Age\u003c/em>, which ought to sound very cool in the Mountain Theater around 4000 feet up. Bring a cushion and warm clothes. Details \u003ca href=\"http://soundsummit.net/info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12073247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12073247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg\" alt=\"Nick Cave's soundsuits in the work 'Drive By'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Cave’s soundsuits in the work ‘Drive By’ \u003ccite>(Photo: James Prinz/courtesy of Jack Shainman Gallery and the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 14 – Aug. 14, 2017\u003c/strong>: The Anderson Collection at Stanford is hosting a show by the boundary-pushing Nick Cave, an African American artist who makes funny sculptures that are like giant, glittery sock pockets decorated with beads, buttons, sequins, and human hair. Sometimes he puts dancers in the suits (Cave trained with Alvin Ailey) and calls it performance art. Whatever you call it, it’s very cool stuff and very worth a visit to Stanford. Both the Anderson Collection and the Cantor are always free, so it’s one of our Cheap Thrills this week.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x196SS9Cl58\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sept 16 & 17\u003c/strong>:\u003ca href=\"http://angelicasllc.com/\" target=\"_blank\" rel=\"noopener\"> Angelica’s in Redwood City\u003c/a> is a kind of throwback, a supper club where you can go for dinner and a show. With help from Redwood City, they’re trying something ambitious these next two days in celebration of Mexican Independence Day (Sept. 16), a Mariachi Festival with \u003ca href=\"https://www.facebook.com/pages/Coro-Redes-Y-Cantos-de-Chapala/103881039701283\" target=\"_blank\" rel=\"noopener\">Coro Redes Y Cantos de Chapala\u003c/a>, a chorus of men and women from Jalisco in Mexico, and Mariachi Los Reyes de Los Angeles (mariachi bravado). The \u003cem>Chronicle\u003c/em> featured a s\u003ca href=\"http://www.sfchronicle.com/music/article/Making-the-case-for-mariachi-9208635.php\" target=\"_blank\" rel=\"noopener\">pread on local mariachi in the pink section\u003c/a> a few days ago, if you want to learn more. Details for Angelica’s Mariachi Festival are \u003ca href=\"http://angelicasllc.com/event.cfm?id=244876&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12073442 size-medium aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Sept. 2 – Oct. 2\u003c/strong>: \u003cem>Dear Master\u003c/em> was the play that gave birth to the Aurora Theater, now celebrating its 25th season. Local actor Barbara Oliver was looking for show in which she could play something other than a granny or nanny, and she worked with author Dorothy Bryant to create a play out of the letters about politics, life and art between Gustave Flaubert and the cross-dressing proto-feminist George Sand. Kimberly King and Michael Ray Wisely play the authors in this new production. It’s not really a romantic tale. Sand was 20 years older, and they never met. But director Joy Carlin told me audiences are loving it. “It seems to pack a wallop, it’s just people reading letters, but people seem to get very emotional over it.” Details \u003ca href=\"https://www.auroratheatre.org/index.php?\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073446\" class=\"wp-caption aligncenter\" style=\"max-width: 476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12073446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png\" alt=\"Robert Hawkins entertains the Comedy Day audience\" width=\"476\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-400x240.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-1180x709.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-960x577.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2.png 1200w\" sizes=\"(max-width: 476px) 100vw, 476px\">\u003cfigcaption class=\"wp-caption-text\">Robert Hawkins entertains the Comedy Day audience \u003ccite>(Photo: Dan Dion/Comedy Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 18\u003c/strong>: Comedy Day is back in Golden Gate Park. This free (Cheap Thrill) event is a chance to see veterans of the Bay Area comedy scene and new ones you haven’t heard of yet. Johnny Steele, Will Durst, Donald Lacey, Natasha Muse, Loren Kraut, Kabir Kabeezy Singh, Joshua Raoul Brody, (retired politico) Tom Ammiano, and a bunch more are scheduled to perform. The wine is from the Pat Paulson Vineyards, founded by the late Pat Paulson, a regular decades ago on the Smothers Brothers and a joke candidate for President in 1968. So it’s bound to be have an amusing but pointedly satirical bouquet. Details for the Sharon Meadows show on Sunday from noon to 5pm are \u003ca href=\"http://comedyday.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4KbPdFZ24F4\u003c/p>\n\u003cp>\u003cstrong>Sept 17\u003c/strong>: \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">Xenia Rubinos \u003c/a>was walking around her neighborhood in Brooklyn one day when she noticed that no matter the restaurant — Chinese takeout, Italian, French — they all had Latino chefs and dishwashers working the back of the house. (She sings the song on her new album \u003cem>Black Terry Cat\u003c/em> and during the NPR Tiny Desk Concert above). The social critique is wrapped in a tight, funky arrangement, summing up the appeal of this Cuba Rican singer: she writes danceable tunes that make you think. Made to order for a KQED Arts audience. Details of her Saturday show at the Independent are \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J8oozqllph4\u003c/p>\n\u003cp>\u003cstrong>Sept. 21 – 25\u003c/strong>: T\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\">he Berkeley Old time Music Convention\u003c/a> is both a conference for the artists and a chance for music lovers to hear some of the best in bluegrass and traditional music. There are workshops and concerts, plus clogging with Berkeley’s \u003ca href=\"http://www.evieladin.com/\" target=\"_blank\" rel=\"noopener\">Evie Ladin\u003c/a>. That’s worth it alone. Many events are at Berkeley’s \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight and Salvage \u003c/a>are free. Details\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073637\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12073637\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg\" alt=\"Art, films, and native gardens at Vallejo's Visions of the Wild \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Art, films, and native gardens at Vallejo’s Visions of the Wild \u003ccite>(Photo: Courtesy of Visions of the Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 15 – 18\u003c/strong>: You only have to go to Vallejo to find wilderness this week. \u003ca href=\"http://visionsofthewild.org//\" target=\"_blank\" rel=\"noopener\">Visions of the Wild\u003c/a> is in its third year of filling Vallejo gardens, theaters and galleries with film, art shows, and speakers. Plus there’s field trips and a chance to join in \u003ca href=\"https://www.savesfbay.org/secure/zero?tfa_32=GAD_POL_zeroCCD&gclid=CIGQuL64ks8CFUqSfgodNH0Mdw\" target=\"_blank\" rel=\"noopener\">Coastal Cleanup Day\u003c/a> (keep that plastic out of the Bay). Nature sound mensch \u003ca href=\"http://www.wildsanctuary.com/\" target=\"_blank\" rel=\"noopener\">Bernie Krause\u003c/a> will speak, as well \u003ca href=\"https://ww2.kqed.org/science/about/\" target=\"_blank\" rel=\"noopener\">KQED Science Editor Craig Miller\u003c/a>. And most events are free. Details \u003ca href=\"http://visionsofthewild.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
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"title": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day | KQED",
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"headline": "Cy and David's Picks: Free Comedy, a Rock and Roll Summit, and Mariachi for Mexican Independence Day",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/283091934″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/283091934″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nffe0hVnD5o'\n title='//www.youtube.com/embed/nffe0hVnD5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 17\u003c/strong>: How nice to start at the top of Mt. Tamalpais with Sound Summit, an annual concert sponsored by the \u003ca href=\"http://soundsummit.net/roots-and-branches/\" target=\"_blank\" rel=\"noopener\">Roots & Branches Conservancy\u003c/a> for the benefit of fire prevention, water conservation and visitor services on Mt. Tam. The headliners are \u003ca href=\"http://wilcoworld.net/schmilco/\" target=\"_blank\" rel=\"noopener\">Wilco\u003c/a>, fresh from a stint at the Fillmore, plus \u003ca href=\"http://www.loslobos.org/site/\" target=\"_blank\" rel=\"noopener\">Los Lobos\u003c/a>, the Stone Foxes, and Bill Frisell doing his album \u003cem>Guitar in the Space Age\u003c/em>, which ought to sound very cool in the Mountain Theater around 4000 feet up. Bring a cushion and warm clothes. Details \u003ca href=\"http://soundsummit.net/info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12073247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12073247\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg\" alt=\"Nick Cave's soundsuits in the work 'Drive By'\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/NC11.009-Drive-by-Film-Still-4-HR-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Cave’s soundsuits in the work ‘Drive By’ \u003ccite>(Photo: James Prinz/courtesy of Jack Shainman Gallery and the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 14 – Aug. 14, 2017\u003c/strong>: The Anderson Collection at Stanford is hosting a show by the boundary-pushing Nick Cave, an African American artist who makes funny sculptures that are like giant, glittery sock pockets decorated with beads, buttons, sequins, and human hair. Sometimes he puts dancers in the suits (Cave trained with Alvin Ailey) and calls it performance art. Whatever you call it, it’s very cool stuff and very worth a visit to Stanford. Both the Anderson Collection and the Cantor are always free, so it’s one of our Cheap Thrills this week.\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/x196SS9Cl58'\n title='//www.youtube.com/embed/x196SS9Cl58'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept 16 & 17\u003c/strong>:\u003ca href=\"http://angelicasllc.com/\" target=\"_blank\" rel=\"noopener\"> Angelica’s in Redwood City\u003c/a> is a kind of throwback, a supper club where you can go for dinner and a show. With help from Redwood City, they’re trying something ambitious these next two days in celebration of Mexican Independence Day (Sept. 16), a Mariachi Festival with \u003ca href=\"https://www.facebook.com/pages/Coro-Redes-Y-Cantos-de-Chapala/103881039701283\" target=\"_blank\" rel=\"noopener\">Coro Redes Y Cantos de Chapala\u003c/a>, a chorus of men and women from Jalisco in Mexico, and Mariachi Los Reyes de Los Angeles (mariachi bravado). The \u003cem>Chronicle\u003c/em> featured a s\u003ca href=\"http://www.sfchronicle.com/music/article/Making-the-case-for-mariachi-9208635.php\" target=\"_blank\" rel=\"noopener\">pread on local mariachi in the pink section\u003c/a> a few days ago, if you want to learn more. Details for Angelica’s Mariachi Festival are \u003ca href=\"http://angelicasllc.com/event.cfm?id=244876&cart\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12073442 size-medium aligncenter\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-1920x1273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Michael-Ray-Wisely-and-Kimberly-King-in-Dear-Master-at-the-Aurora-Theatre-e1473976403677-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>Sept. 2 – Oct. 2\u003c/strong>: \u003cem>Dear Master\u003c/em> was the play that gave birth to the Aurora Theater, now celebrating its 25th season. Local actor Barbara Oliver was looking for show in which she could play something other than a granny or nanny, and she worked with author Dorothy Bryant to create a play out of the letters about politics, life and art between Gustave Flaubert and the cross-dressing proto-feminist George Sand. Kimberly King and Michael Ray Wisely play the authors in this new production. It’s not really a romantic tale. Sand was 20 years older, and they never met. But director Joy Carlin told me audiences are loving it. “It seems to pack a wallop, it’s just people reading letters, but people seem to get very emotional over it.” Details \u003ca href=\"https://www.auroratheatre.org/index.php?\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073446\" class=\"wp-caption aligncenter\" style=\"max-width: 476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-12073446\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png\" alt=\"Robert Hawkins entertains the Comedy Day audience\" width=\"476\" height=\"286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-400x240.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-1180x709.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2-960x577.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Comedy-Day-2.png 1200w\" sizes=\"(max-width: 476px) 100vw, 476px\">\u003cfigcaption class=\"wp-caption-text\">Robert Hawkins entertains the Comedy Day audience \u003ccite>(Photo: Dan Dion/Comedy Day)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 18\u003c/strong>: Comedy Day is back in Golden Gate Park. This free (Cheap Thrill) event is a chance to see veterans of the Bay Area comedy scene and new ones you haven’t heard of yet. Johnny Steele, Will Durst, Donald Lacey, Natasha Muse, Loren Kraut, Kabir Kabeezy Singh, Joshua Raoul Brody, (retired politico) Tom Ammiano, and a bunch more are scheduled to perform. The wine is from the Pat Paulson Vineyards, founded by the late Pat Paulson, a regular decades ago on the Smothers Brothers and a joke candidate for President in 1968. So it’s bound to be have an amusing but pointedly satirical bouquet. Details for the Sharon Meadows show on Sunday from noon to 5pm are \u003ca href=\"http://comedyday.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4KbPdFZ24F4'\n title='//www.youtube.com/embed/4KbPdFZ24F4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept 17\u003c/strong>: \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">Xenia Rubinos \u003c/a>was walking around her neighborhood in Brooklyn one day when she noticed that no matter the restaurant — Chinese takeout, Italian, French — they all had Latino chefs and dishwashers working the back of the house. (She sings the song on her new album \u003cem>Black Terry Cat\u003c/em> and during the NPR Tiny Desk Concert above). The social critique is wrapped in a tight, funky arrangement, summing up the appeal of this Cuba Rican singer: she writes danceable tunes that make you think. Made to order for a KQED Arts audience. Details of her Saturday show at the Independent are \u003ca href=\"http://www.xeniarubinos.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J8oozqllph4'\n title='//www.youtube.com/embed/J8oozqllph4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 21 – 25\u003c/strong>: T\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\">he Berkeley Old time Music Convention\u003c/a> is both a conference for the artists and a chance for music lovers to hear some of the best in bluegrass and traditional music. There are workshops and concerts, plus clogging with Berkeley’s \u003ca href=\"http://www.evieladin.com/\" target=\"_blank\" rel=\"noopener\">Evie Ladin\u003c/a>. That’s worth it alone. Many events are at Berkeley’s \u003ca href=\"http://www.thefreight.org/\" target=\"_blank\" rel=\"noopener\">Freight and Salvage \u003c/a>are free. Details\u003ca href=\"http://www.berkeleyoldtimemusic.org/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12073637\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12073637\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg\" alt=\"Art, films, and native gardens at Vallejo's Visions of the Wild \" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Visions-of-the-Wild-Vallejo-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Art, films, and native gardens at Vallejo’s Visions of the Wild \u003ccite>(Photo: Courtesy of Visions of the Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sept. 15 – 18\u003c/strong>: You only have to go to Vallejo to find wilderness this week. \u003ca href=\"http://visionsofthewild.org//\" target=\"_blank\" rel=\"noopener\">Visions of the Wild\u003c/a> is in its third year of filling Vallejo gardens, theaters and galleries with film, art shows, and speakers. Plus there’s field trips and a chance to join in \u003ca href=\"https://www.savesfbay.org/secure/zero?tfa_32=GAD_POL_zeroCCD&gclid=CIGQuL64ks8CFUqSfgodNH0Mdw\" target=\"_blank\" rel=\"noopener\">Coastal Cleanup Day\u003c/a> (keep that plastic out of the Bay). Nature sound mensch \u003ca href=\"http://www.wildsanctuary.com/\" target=\"_blank\" rel=\"noopener\">Bernie Krause\u003c/a> will speak, as well \u003ca href=\"https://ww2.kqed.org/science/about/\" target=\"_blank\" rel=\"noopener\">KQED Science Editor Craig Miller\u003c/a>. And most events are free. Details \u003ca href=\"http://visionsofthewild.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The catastrophic crises contrived to drive Hollywood’s summer movies make me yawn: sociopathic supervillains, alien invasions, frantic felines and genocidal space marauders. All that pre-adolescent nonsense finally slipped into the rear-view window on Labor Day, and the theaters (mostly) reverted to the control of adults. If you’re ready for genuine high-stakes drama, meaningful moral dilemmas and real lives in the balance, the silver screen beckons.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073435\" class=\"wp-caption alignleft\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg\" alt=\"Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller 'Snowden. '\" width=\"788\" height=\"600\" class=\"size-medium wp-image-12073435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527.jpg 800w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller ‘Snowden. ‘ \u003ccite>(Photo: Jürgen Olczyk )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Snowden\u003c/em>\u003c/h3>\n\u003ch5>Opens Sept. 16\u003c/h5>\n\u003cp>Happy birthday to perennially angry young man Oliver Stone, who turns 70 the day before his biopic on whistleblower Edward Snowden opens. Here’s hoping Stone resisted the low-hanging fruit of anti-government agit-prop and the genre allure of paranoid thrillers to craft a behind-the-scenes story of Snowden, an everyman (played by Joseph Gordon-Levitt) who risked everything to do the right thing. Plenty of people still despise Snowden for his 2013 exposure of the breadth of NSA spying, even after documentary filmmaker Laura Poitras’s Oscar-winning \u003cem>Citizenfour\u003c/em> revealed the former analyst to be neither a traitor nor an egomaniac but a rational computer geek fluent in moral code. Perhaps they’ll see \u003cem>Snowden\u003c/em> as a bookend to Stone’s earlier portrait of a controversial patriot, \u003cem>Born On the Fourth of July\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073447\" class=\"wp-caption alignleft\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg\" alt=\"Ann Magnani\" width=\"711\" height=\"600\" class=\"size-medium wp-image-12073447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-768x648.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-1180x995.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-960x810.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2.jpg 1394w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">Ann Magnani\u003c/figcaption>\u003c/figure>\n\u003ch3>Anna Magnani\u003c/h3>\n\u003ch5>Sept. 24 at the Castro\u003cbr>\n\u003ca href=\"http://www.cinemaitaliasf.com\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25 – Dec. 4 at the Pacific Film Archive\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/program/anna-magnani-eternal-soul-italian-cinema\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>As a prelude to the annual Pageant of Possible Pretenders to Meryl Streep’s Throne — also known as the Academy Award nominations for Best Actress—you are enjoined to refresh yourself at the fount of torrential, passionate acting. “Anna Magnani — A Film Series” thunders the walls of the Castro with four astonishing performances by the Italian force of nature in \u003cem>Rome Open City\u003c/em> (1945), \u003cem>Bellissima\u003c/em> (1952), \u003cem>The Rose Tattoo\u003c/em> (1955) and \u003cem>The Passionate Thief\u003c/em> (1960). With your appetite thus whetted, the Pacific Film Archive wheels out the main course the next day: “Anna Magnani: Eternal Soul of Italian Cinema.” You’re familiar with the phrase “the camera loves” this or that performer. Magnani devoured the camera, and the screen.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073438\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg\" alt=\" Armie Hammer as "Samuel Turner," Nate Parker as "Nat Turner" and Jayson Warner Smith as "Earl Fowler" in 'The Birth of A Nation.' \" width=\"640\" height=\"537\" class=\"size-large wp-image-12073438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-400x336.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-715x600.jpg 715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-768x645.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-960x806.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1.jpg 1372w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Armie Hammer as “Samuel Turner,” Nate Parker as “Nat Turner” and Jayson Warner Smith as “Earl Fowler” in ‘The Birth of A Nation.’ \u003ccite>(Photo: Courtesy of Fox Searchlight Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Birth of a Nation\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 7\u003c/h5>\n\u003cp>Nat Turner was owned by a less-cruel-than-usual Virginia cotton grower whose wife deemed it admirable to teach the boy to read, but just the Bible and only certain sections. In writer-director-actor Nate Parker’s telling, Nat was radicalized in his twenties by seeing the horrific mistreatment of slaves by other white land owners and by discovering the Old Testament’s passages condemning slavery. \u003cem>The Birth of a Nation\u003c/em> is an incendiary film with religious overtones that invites various interpretations and critiques. It deserves to be widely seen, and its depictions of violence in 1820s America widely discussed, given the ongoing disgrace of police shootings of unarmed African-Americans almost two centuries later.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073439\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg\" alt=\"Delphine Seyrig in Chantal Ackerman's 1975 tour de force 'Jeanne Dielman'\" width=\"640\" height=\"513\" class=\"size-large wp-image-12073439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-749x600.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-960x769.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delphine Seyrig in Chantal Ackerman’s 1975 tour de force ‘Jeanne Dielman’\u003c/figcaption>\u003c/figure>\n\u003ch3>Modern Cinema\u003c/h3>\n\u003ch5>Oct. 7–23\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The just-completed expansion of SFMOMA included a renovation of Phyllis Wattis Theatre and the addition of a dedicated entrance, correcting an original design flaw that complicated standalone film screenings. The museum and the San Francisco Film Society (presenters of the S.F. International Film Festival) inaugurate the refreshed screening room with three packed weekends of rare, vintage, cult and classic movies. A slew of beloved titles by Janus/Criterion icons from Bergman to Fassbinder screen Oct. 7 – 14 under the rubric “Haunted by Cinema,” with “Haunted Cinema” (Oct. 21 – 23) encompassing otherworldly films like \u003cem>Picnic at Hanging Rock\u003c/em> and \u003cem>Ugetsu\u003c/em>. Sandwiched in between, Thai filmmaker and ghost lover Apichatpong Weerasethakul is saluted Oct. 13 – 16 with an in-person retrospective augmented with works by Renoir, Bunuel, Polanski and Erice.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073440\" class=\"wp-caption alignleft\" style=\"max-width: 558px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg\" alt=\"Gina Lewis (Michelle Williams) in Kelly Reichardt’s 'Certain Women'\" width=\"558\" height=\"600\" class=\"size-medium wp-image-12073440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg 558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-400x430.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-768x826.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-960x1033.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms.jpg 1096w\" sizes=\"(max-width: 558px) 100vw, 558px\">\u003cfigcaption class=\"wp-caption-text\">Gina Lewis (Michelle Williams) in Kelly Reichardt’s ‘Certain Women’ \u003ccite>(Photo: Nicole Rivelli/ Courtesy of IFC Films. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Certain Women\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 14\u003c/h5>\n\u003cp>Writer-director Kelly Reichardt (\u003cem>Wendy and Lucy\u003c/em>, \u003cem>Meek’s Cutoff\u003c/em>) is less interested in plot than character, which means she embraces levels of sensitivity and subtlety that are simply beyond most filmmakers. Reichardt relishes placing female characters in positions of uncharted responsibility, then seeing how they deal with both explicit and ingrained male obstruction. She adapts and weaves the short stories of Montana author Maile Meloy this time out, in collaboration with longtime cohort Michelle Williams, the great Laura Dern, the underrated Kristen Stewart and newcomer Lily Gladstone. (Did I overlook the men in the cast? Dear me.) \u003cem>Certain Women\u003c/em> debuted at Sundance and plays the prestigious New York Film Festival before opening theatrically.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073441\" class=\"wp-caption alignleft\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg\" alt=\"Mahershala Ali in 'Moonlight'\" width=\"735\" height=\"600\" class=\"size-medium wp-image-12073441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie.jpg 932w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Mahershala Ali in ‘Moonlight’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Moonlight\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 28\u003c/h5>\n\u003cp>With his wonderful San Francisco-set directorial debut, \u003cem>Medicine for Melancholy\u003c/em> (2008), Florida-to-Bay Area transplant Barry Jenkins broke out in a way that only a tiny handful of local narrative filmmakers ever had. His long-awaited follow-up, based on Tarell Alvin McCraney’s play \u003cem>In Moonlight Black Boys Look Blue\u003c/em>, follows a gay black man from childhood into adulthood, from Miami’s bullying streets out to the wider world. The theme of black men loving black men, and James Laxton’s gorgeous photography, puts me in mind of \u003cem>Tongues Untied\u003c/em>, Marlon Riggs’ sensual and uncompromising 1989 declaration of independence, manhood, sex and poetry.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073249\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg\" alt=\"Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\" width=\"800\" height=\"555\" class=\"size-medium wp-image-12073249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-960x667.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>American Pastoral\u003c/em>\u003c/h3>\n\u003ch5>Opens Friday, Oct. 28\u003c/h5>\n\u003cp>A film (or three) with a literary pedigree is as sure a sign of fall as football and leaf-strewn sidewalks. Ewan McGregor makes his directorial debut with a wrenching adaptation of Phillip Roth’s 1997 Pulitzer Prize-winning novel, smartly surrounding himself with actor’s actors David Strathairn, Peter Riegert, Molly Parker, Rupert Evans, Dakota Fanning and Jennifer Connelly. The British matinee idol also stars as Seymour “Swede” Levov, a successful New Jersey factory owner whose self-assured, midcentury grip on the American Dream is broken by ‘60s radicalism that arises in his own family. The release of \u003cem>American Pastoral\u003c/em> just before Election Day is not wholly accidental. Halloween horror aside, fall movies are more than entertainment.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Fall Movie Guide: Women and Men on the Verge | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/fall-arts-guide-2016/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg\" alt=\"FallArtsPreview2016SQ\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12037699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FallArtsPreview2016SQ-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>The catastrophic crises contrived to drive Hollywood’s summer movies make me yawn: sociopathic supervillains, alien invasions, frantic felines and genocidal space marauders. All that pre-adolescent nonsense finally slipped into the rear-view window on Labor Day, and the theaters (mostly) reverted to the control of adults. If you’re ready for genuine high-stakes drama, meaningful moral dilemmas and real lives in the balance, the silver screen beckons.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073435\" class=\"wp-caption alignleft\" style=\"max-width: 788px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg\" alt=\"Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller 'Snowden. '\" width=\"788\" height=\"600\" class=\"size-medium wp-image-12073435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-788x600.jpg 788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/snowden-movie-promo-1024x527.jpg 800w\" sizes=\"(max-width: 788px) 100vw, 788px\">\u003cfigcaption class=\"wp-caption-text\">Joseph Gordon-Levitt as Edward Snowden in Oliver Stone’s thriller ‘Snowden. ‘ \u003ccite>(Photo: Jürgen Olczyk )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Snowden\u003c/em>\u003c/h3>\n\u003ch5>Opens Sept. 16\u003c/h5>\n\u003cp>Happy birthday to perennially angry young man Oliver Stone, who turns 70 the day before his biopic on whistleblower Edward Snowden opens. Here’s hoping Stone resisted the low-hanging fruit of anti-government agit-prop and the genre allure of paranoid thrillers to craft a behind-the-scenes story of Snowden, an everyman (played by Joseph Gordon-Levitt) who risked everything to do the right thing. Plenty of people still despise Snowden for his 2013 exposure of the breadth of NSA spying, even after documentary filmmaker Laura Poitras’s Oscar-winning \u003cem>Citizenfour\u003c/em> revealed the former analyst to be neither a traitor nor an egomaniac but a rational computer geek fluent in moral code. Perhaps they’ll see \u003cem>Snowden\u003c/em> as a bookend to Stone’s earlier portrait of a controversial patriot, \u003cem>Born On the Fourth of July\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073447\" class=\"wp-caption alignleft\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg\" alt=\"Ann Magnani\" width=\"711\" height=\"600\" class=\"size-medium wp-image-12073447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-711x600.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-768x648.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-1180x995.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2-960x810.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/anna-magnani-2.jpg 1394w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">Ann Magnani\u003c/figcaption>\u003c/figure>\n\u003ch3>Anna Magnani\u003c/h3>\n\u003ch5>Sept. 24 at the Castro\u003cbr>\n\u003ca href=\"http://www.cinemaitaliasf.com\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003cbr>\nSept. 25 – Dec. 4 at the Pacific Film Archive\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/program/anna-magnani-eternal-soul-italian-cinema\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>As a prelude to the annual Pageant of Possible Pretenders to Meryl Streep’s Throne — also known as the Academy Award nominations for Best Actress—you are enjoined to refresh yourself at the fount of torrential, passionate acting. “Anna Magnani — A Film Series” thunders the walls of the Castro with four astonishing performances by the Italian force of nature in \u003cem>Rome Open City\u003c/em> (1945), \u003cem>Bellissima\u003c/em> (1952), \u003cem>The Rose Tattoo\u003c/em> (1955) and \u003cem>The Passionate Thief\u003c/em> (1960). With your appetite thus whetted, the Pacific Film Archive wheels out the main course the next day: “Anna Magnani: Eternal Soul of Italian Cinema.” You’re familiar with the phrase “the camera loves” this or that performer. Magnani devoured the camera, and the screen.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073438\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg\" alt=\" Armie Hammer as "Samuel Turner," Nate Parker as "Nat Turner" and Jayson Warner Smith as "Earl Fowler" in 'The Birth of A Nation.' \" width=\"640\" height=\"537\" class=\"size-large wp-image-12073438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-1180x991.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-400x336.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-715x600.jpg 715w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-768x645.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1-960x806.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Birth-of-a-nation-1.jpg 1372w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Armie Hammer as “Samuel Turner,” Nate Parker as “Nat Turner” and Jayson Warner Smith as “Earl Fowler” in ‘The Birth of A Nation.’ \u003ccite>(Photo: Courtesy of Fox Searchlight Pictures.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Birth of a Nation\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 7\u003c/h5>\n\u003cp>Nat Turner was owned by a less-cruel-than-usual Virginia cotton grower whose wife deemed it admirable to teach the boy to read, but just the Bible and only certain sections. In writer-director-actor Nate Parker’s telling, Nat was radicalized in his twenties by seeing the horrific mistreatment of slaves by other white land owners and by discovering the Old Testament’s passages condemning slavery. \u003cem>The Birth of a Nation\u003c/em> is an incendiary film with religious overtones that invites various interpretations and critiques. It deserves to be widely seen, and its depictions of violence in 1820s America widely discussed, given the ongoing disgrace of police shootings of unarmed African-Americans almost two centuries later.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073439\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg\" alt=\"Delphine Seyrig in Chantal Ackerman's 1975 tour de force 'Jeanne Dielman'\" width=\"640\" height=\"513\" class=\"size-large wp-image-12073439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-1180x945.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-749x600.jpg 749w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Modern-Cinema-960x769.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Delphine Seyrig in Chantal Ackerman’s 1975 tour de force ‘Jeanne Dielman’\u003c/figcaption>\u003c/figure>\n\u003ch3>Modern Cinema\u003c/h3>\n\u003ch5>Oct. 7–23\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-criterion-collection/\" target=\"_blank\" rel=\"noopener\">Tickets and More Information\u003c/a>\u003c/h5>\n\u003cp>The just-completed expansion of SFMOMA included a renovation of Phyllis Wattis Theatre and the addition of a dedicated entrance, correcting an original design flaw that complicated standalone film screenings. The museum and the San Francisco Film Society (presenters of the S.F. International Film Festival) inaugurate the refreshed screening room with three packed weekends of rare, vintage, cult and classic movies. A slew of beloved titles by Janus/Criterion icons from Bergman to Fassbinder screen Oct. 7 – 14 under the rubric “Haunted by Cinema,” with “Haunted Cinema” (Oct. 21 – 23) encompassing otherworldly films like \u003cem>Picnic at Hanging Rock\u003c/em> and \u003cem>Ugetsu\u003c/em>. Sandwiched in between, Thai filmmaker and ghost lover Apichatpong Weerasethakul is saluted Oct. 13 – 16 with an in-person retrospective augmented with works by Renoir, Bunuel, Polanski and Erice.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073440\" class=\"wp-caption alignleft\" style=\"max-width: 558px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg\" alt=\"Gina Lewis (Michelle Williams) in Kelly Reichardt’s 'Certain Women'\" width=\"558\" height=\"600\" class=\"size-medium wp-image-12073440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-558x600.jpg 558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-400x430.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-768x826.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms-960x1033.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CERTAIN-WOMEN_CourtesyofIFCFilms.jpg 1096w\" sizes=\"(max-width: 558px) 100vw, 558px\">\u003cfigcaption class=\"wp-caption-text\">Gina Lewis (Michelle Williams) in Kelly Reichardt’s ‘Certain Women’ \u003ccite>(Photo: Nicole Rivelli/ Courtesy of IFC Films. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Certain Women\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 14\u003c/h5>\n\u003cp>Writer-director Kelly Reichardt (\u003cem>Wendy and Lucy\u003c/em>, \u003cem>Meek’s Cutoff\u003c/em>) is less interested in plot than character, which means she embraces levels of sensitivity and subtlety that are simply beyond most filmmakers. Reichardt relishes placing female characters in positions of uncharted responsibility, then seeing how they deal with both explicit and ingrained male obstruction. She adapts and weaves the short stories of Montana author Maile Meloy this time out, in collaboration with longtime cohort Michelle Williams, the great Laura Dern, the underrated Kristen Stewart and newcomer Lily Gladstone. (Did I overlook the men in the cast? Dear me.) \u003cem>Certain Women\u003c/em> debuted at Sundance and plays the prestigious New York Film Festival before opening theatrically.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073441\" class=\"wp-caption alignleft\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg\" alt=\"Mahershala Ali in 'Moonlight'\" width=\"735\" height=\"600\" class=\"size-medium wp-image-12073441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-735x600.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-400x327.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie-768x627.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Moonlight-movie.jpg 932w\" sizes=\"(max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Mahershala Ali in ‘Moonlight’\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Moonlight\u003c/em>\u003c/h3>\n\u003ch5>Opens Oct. 28\u003c/h5>\n\u003cp>With his wonderful San Francisco-set directorial debut, \u003cem>Medicine for Melancholy\u003c/em> (2008), Florida-to-Bay Area transplant Barry Jenkins broke out in a way that only a tiny handful of local narrative filmmakers ever had. His long-awaited follow-up, based on Tarell Alvin McCraney’s play \u003cem>In Moonlight Black Boys Look Blue\u003c/em>, follows a gay black man from childhood into adulthood, from Miami’s bullying streets out to the wider world. The theme of black men loving black men, and James Laxton’s gorgeous photography, puts me in mind of \u003cem>Tongues Untied\u003c/em>, Marlon Riggs’ sensual and uncompromising 1989 declaration of independence, manhood, sex and poetry.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_12073249\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg\" alt=\"Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\" width=\"800\" height=\"555\" class=\"size-medium wp-image-12073249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-400x278.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-1180x819.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/american-pastoral-AP_D03_00929_R_rgb-960x667.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Merry Levov (Hannah Nordberg) and Swede Levov (Ewan McGregor) in American Pastoral.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>American Pastoral\u003c/em>\u003c/h3>\n\u003ch5>Opens Friday, Oct. 28\u003c/h5>\n\u003cp>A film (or three) with a literary pedigree is as sure a sign of fall as football and leaf-strewn sidewalks. Ewan McGregor makes his directorial debut with a wrenching adaptation of Phillip Roth’s 1997 Pulitzer Prize-winning novel, smartly surrounding himself with actor’s actors David Strathairn, Peter Riegert, Molly Parker, Rupert Evans, Dakota Fanning and Jennifer Connelly. The British matinee idol also stars as Seymour “Swede” Levov, a successful New Jersey factory owner whose self-assured, midcentury grip on the American Dream is broken by ‘60s radicalism that arises in his own family. The release of \u003cem>American Pastoral\u003c/em> just before Election Day is not wholly accidental. Halloween horror aside, fall movies are more than entertainment.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Luis Valdez, Morgan Freeman to Receive National Medal of Arts [UPDATED]",
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"content": "\u003cp>\u003cb>UPDATED:\u003c/b> Sept. 15, 11:30am\u003c/p>\n\u003cp>President Barack Obama will honor El Teatro Campesino co-founder Luis Valdez as well as actors Mel Brooks and Morgan Freeman with the 2015 National Medal of Arts, the White House said Wednesday.\u003c/p>\n\u003cp>The artists and other leading creative figures have been invited to receive the medal at a White House ceremony on Sept. 22. First lady Michelle Obama also planned to attend.\u003c/p>\n\u003cp>[contextly_sidebar id=”a51rrlb7PJB37KwrXq7jVvtNtgbzK0J6″]\u003c/p>\n\u003cp>\u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\" target=\"_blank\" rel=\"noopener\">The announcement\u003c/a> stated that Valdez was being honored for “bringing Chicano culture to American drama.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As a playwright, actor, writer, and director, he illuminates the human spirit in the face of social injustice through award-winning stage, film, and television productions,” the statement read.\u003c/p>\n\u003cp>After learning the news, Valdez released this statement:\u003c/p>\n\u003cblockquote>\u003cp>I am honored to receive this recognition from President Obama and the National Council of the Arts. I share it with the countless artists who have created El Teatro Campesino over the last fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>The White House said Brooks was being honored for “a lifetime of making the world laugh.” The actor, director, writer and musician is one of the few artists to have won an Oscar, an Emmy, a Tony and a Grammy.\u003c/p>\n\u003cp>Freeman will be honored for his work as an actor, director and narrator.\u003c/p>\n\u003cp>“His iconic stage and screen performances have brought to life characters from the whole spectrum of the human experience, moving audiences around the world, and influencing countless young artists,” the White House said in a statement.\u003c/p>\n\u003cp>Other winners this year include composer Philip Glass, actress and singer Audra McDonald, author Sandra Cisneros and painter Jack Whitten. Musician Santiago Jimenez Jr. and playwright Moises Kaufman are also on the list.\u003c/p>\n\u003cp>The White House also announced that celebrity chef Jose Andres is among the 2015 recipients of the National Humanities Medal. So are jazz legend Wynton Marsalis, public radio host Terry Gross and author James McBride.\u003c/p>\n\u003cp>Others receiving the National Medal of Arts:\u003c/p>\n\u003cp>— Record producer and songwriter Berry Gordy\u003c/p>\n\u003cp>— Dancer and choreographer Ralph Lemon\u003c/p>\n\u003cp>— The Eugene O’Neill Theater Center\u003c/p>\n\u003cp>Others receiving the National Humanities Medal:\u003c/p>\n\u003cp>— Author Rudolfo Anaya\u003c/p>\n\u003cp>— Author Louis Menand\u003c/p>\n\u003cp>— Author Ron Chernow\u003c/p>\n\u003cp>— Prison University Project, Higher Education Program\u003c/p>\n\u003cp>— Physician and author Abraham Verghese\u003c/p>\n\u003cp>— Historian and author Elaine Pagels\u003c/p>\n\u003cp>— Journalist and author Isabel Wilkerson\u003c/p>\n\u003cp>— Poet Louise Gluck\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Kevin L. Jones contributed to this report.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATED:\u003c/b> Sept. 15, 11:30am\u003c/p>\n\u003cp>President Barack Obama will honor El Teatro Campesino co-founder Luis Valdez as well as actors Mel Brooks and Morgan Freeman with the 2015 National Medal of Arts, the White House said Wednesday.\u003c/p>\n\u003cp>The artists and other leading creative figures have been invited to receive the medal at a White House ceremony on Sept. 22. First lady Michelle Obama also planned to attend.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.arts.gov/news/2016/president-obama-award-national-medals-arts\" target=\"_blank\" rel=\"noopener\">The announcement\u003c/a> stated that Valdez was being honored for “bringing Chicano culture to American drama.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As a playwright, actor, writer, and director, he illuminates the human spirit in the face of social injustice through award-winning stage, film, and television productions,” the statement read.\u003c/p>\n\u003cp>After learning the news, Valdez released this statement:\u003c/p>\n\u003cblockquote>\u003cp>I am honored to receive this recognition from President Obama and the National Council of the Arts. I share it with the countless artists who have created El Teatro Campesino over the last fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>The White House said Brooks was being honored for “a lifetime of making the world laugh.” The actor, director, writer and musician is one of the few artists to have won an Oscar, an Emmy, a Tony and a Grammy.\u003c/p>\n\u003cp>Freeman will be honored for his work as an actor, director and narrator.\u003c/p>\n\u003cp>“His iconic stage and screen performances have brought to life characters from the whole spectrum of the human experience, moving audiences around the world, and influencing countless young artists,” the White House said in a statement.\u003c/p>\n\u003cp>Other winners this year include composer Philip Glass, actress and singer Audra McDonald, author Sandra Cisneros and painter Jack Whitten. Musician Santiago Jimenez Jr. and playwright Moises Kaufman are also on the list.\u003c/p>\n\u003cp>The White House also announced that celebrity chef Jose Andres is among the 2015 recipients of the National Humanities Medal. So are jazz legend Wynton Marsalis, public radio host Terry Gross and author James McBride.\u003c/p>\n\u003cp>Others receiving the National Medal of Arts:\u003c/p>\n\u003cp>— Record producer and songwriter Berry Gordy\u003c/p>\n\u003cp>— Dancer and choreographer Ralph Lemon\u003c/p>\n\u003cp>— The Eugene O’Neill Theater Center\u003c/p>\n\u003cp>Others receiving the National Humanities Medal:\u003c/p>\n\u003cp>— Author Rudolfo Anaya\u003c/p>\n\u003cp>— Author Louis Menand\u003c/p>\n\u003cp>— Author Ron Chernow\u003c/p>\n\u003cp>— Prison University Project, Higher Education Program\u003c/p>\n\u003cp>— Physician and author Abraham Verghese\u003c/p>\n\u003cp>— Historian and author Elaine Pagels\u003c/p>\n\u003cp>— Journalist and author Isabel Wilkerson\u003c/p>\n\u003cp>— Poet Louise Gluck\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Kevin L. Jones contributed to this report.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’re a fan of the podcast \u003ci>\u003ca href=\"http://www.youmustrememberthispodcast.com/about/\" target=\"_blank\" rel=\"noopener\">You Must Remember This\u003c/a>,\u003c/i> then you awoke to the sad news that the “\u003ca href=\"http://flavorwire.com/520338/the-internets-best-film-podcast-goes-true-crime-and-takes-on-charles-manson\" target=\"_blank\" rel=\"noopener\">Internet’s best film podcast\u003c/a>” is going to stop for a bit: Its creator, \u003ca href=\"http://www.vidiocy.com/bio-and-clips/#bio\" target=\"_blank\" rel=\"noopener\">award-winning film historian\u003c/a> Karina Longworth, is taking a long hiatus so she can finish a book about the Hollywood starlets who dated Howard Hughes (because of course she is).\u003c/p>\n\u003cp>If you’re unfamiliar with the podcast, then this is the perfect time to start listening to the archives. There are only 92 episodes, but the stories that Longworth digs up from the “secret and/or forgotten histories of Hollywood’s first century” are like the movies her subjects starred in — full of passion, heartbreak, tragedy, and unforgettable characters. The tales of Rita Hayworth, Joan Crawford and Spencer Tracy are known to many, but when told with Longworth’s snarky-yet-empathetic spin, they are given new life, and are more palatable to someone with today’s social sensibilities. And if the subject seems unappealing, know that one doesn’t have to be a fan of black-and-white movies from the ’40s and ’50s to enjoy Longworth’s detailing of the career-destroying Hollywood Blacklist or the brutal Manson Family murders.\u003c/p>\n\u003cp>I spoke with Longworth last week so I could have her answer the dozens of questions burning a hole in my brain since I began listening to her show, knowing that she was going to be holed away working on a book for the next several months. Longworth proved to be a fun and patient subject — she obviously understands that few people know as much about classical Hollywood as her — and it was hard to stop asking questions.\u003c/p>\n\u003cp>\u003ci>Interview edited for clarity and length.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Were you always a fan of classical Hollywood?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t remember a time when I wasn’t into old movies. They were primarily what I watched as a kid because my parents weren’t really interested in new movies and didn’t take me to see them and were pretty strict about what I was allowed to see in terms of new movies. There were a couple of new movies that filtered into me, like I saw \u003ci>Ghostbusters\u003c/i> and \u003ci>Back to the Future,\u003c/i> but that’s kind of it. It was pretty much just old Disney movies; we had the Disney channel and the thing about the Disney channel is that they would show old animated movies and old live action movies but then at night they would have — I’m sure it wasn’t called “Disney Channel after dark” but that’s my memory of it — and they’d show Cary Grant movies and Jimmy Stewart movies, and it was supposed to be for adults, but I would watch.\u003c/p>\n\u003cp>\u003cb>You’ve said you heard the podcast in your head before you made it. Did any other shows inspire you to make a podcast?\u003c/b>\u003c/p>\n\u003cp>I was listening to a lot of podcasts but there wasn’t anything that I heard that sounded like what I had in my head. In fact, I wasn’t sure anybody would want to listen to what I had in my head, but I knew that in order to explain to people what it was in my head, I would have to make it, because there wasn’t anything I could point to as an example.\u003c/p>\n\u003cfigure id=\"attachment_12064153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12064153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/London400tmax152-800x476.jpg\" alt=\"How Longworth records her podcast\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">How Longworth records her podcast \u003ccite>(Photo: Meghann Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you come up with your introduction phrase, “Join us, won’t you?”\u003c/b>\u003c/p>\n\u003cp>It’s just one of those things I heard in my head. It was actually one of the important aspects of the show I heard in my head. I wanted the show to feel like something spooky that you would hear late at night on a drive through the middle of nowhere.\u003c/p>\n\u003cp>\u003cb>Are there subjects you enjoy more than others?\u003c/b>\u003c/p>\n\u003cp>Because it’s a lot of work to make the podcast, I try not to even choose to make an episode about a topic I’m not interested in. But within that, certainly there are movies I enjoy watching more than other movies. I think you can tell by the topics I’ve worked on; I’ve definitely talked about more women than men, and there are certain genres that I haven’t gotten into that much. Some of that is just that there’s a lot to do and I haven’t done it all yet. I don’t talk about Westerns all that often because I’m not that knowledgeable about them.\u003c/p>\n\u003cp>On some level the show is about having an excuse to learn about things that I’ve always wanted to learn about but haven’t yet. But on another level, I have to know a little bit about a subject to even go into making a podcast episode about it because if I start from scratch, it’s just too hard.\u003c/p>\n\u003cp>\u003cb>The subjects you cover on the podcast were reported on by both serious journalists and tabloid reporters. How do you balance all the information you come across and make sure it’s factual?\u003c/b>\u003c/p>\n\u003cp>I don’t believe anything I read, really. History is all written from a point of view and I see it all as just stories, whether it’s proven to be true or not; it’s all just a tapestry of public ideas. I take everything with a grain of salt, but there are certain stories that get repeated many, many times and the original source is the \u003cem>New York Times\u003c/em> — those events certainly happened. Then there are other events that are only one or two sources and their reports about it conflict, and those are more interesting to me; a lot of the show is about conflicting details and why somebody would’ve said that something happened this way while someone else said it happened another way. On one level the show is less a work of history and more of a work of historiography because it’s about the way stories are told than the stories themselves.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.youtube.com/watch?v=DNdmGqLMqE4\n\u003cp class=\"wp-caption-text\">\u003ci>This is footage from the first televised Oscars ceremony in 1953 of Gloria Grahame winning the award for Best Supporting Actress. In her episode about Grahame, Longworth reports that what wasn’t aired was Grahame tripping while walking up the stairs and blurting “Oh shit!” when she fell, which became scandal worthy of constant coverage in the tabloids.\u003c/i>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cb>Do you ever feel the need to use your podcast to correct history?\u003c/b>\u003c/p>\n\u003cp>I wouldn’t say “correct” because I don’t know what really happened in any of these cases. The tagline for the show is that it is about the secret and forgotten histories, and for me a lot of the secret history stuff is about looking at these events from the perspective of today, from a female perspective — especially on stories from the 1940s and ’50s. The default voice of American popular culture was from powerful white males. So if you were living a life that didn’t necessarily fit perfectly with the expectations of that default voice, then your story was either skewed or wasn’t told completely. I think coming at it from my perspective, that of a woman who was born near the end of the 20th century and living in the time that we’re in now, I’m able to see things from a different angle and tell a different version of the history.\u003c/p>\n\u003cp>\u003cb>Do you ever feel like you would fit better in the times that you cover, the ’40s or ’50s? Like you were meant to live in the past?\u003c/b>\u003c/p>\n\u003cp>No, I don’t want to time travel or feel like I was born in the wrong time or anything. I would say that I grew up during a time in which it was so much more normal to be interested in movies than it is now. Now it’s almost a specialty to follow anything but Marvel movies, but that’s just times changing and me getting older. I’m never going to watch YouTube content — that’s just not something I’m going to be into — but that doesn’t necessarily mean I’m going to be cosplaying the ’60s or whatever.\u003c/p>\n\u003cfigure id=\"attachment_12064160\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12064160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-600x600.jpg\" alt=\"The podcast's logo\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/YMRTLogoHighRes-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The podcast’s logo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So if I met you in person, you wouldn’t be rocking a bee hive and wearing knee-high white leather boots?\u003c/b>\u003c/p>\n\u003cp>No, but I did just buy a car from 1987. That’s a real thing that just happened. [Laughs]\u003c/p>\n\u003cp>\u003cb>Was it because it was affordable?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It was, but it was because I had a newish car and then the three-year lease ended, and I’ve always loved these Mercedes SLs from the ’80s. I realized that I could get one for less than what I spent on my car lease, so if it lasted these three years, then I’d break even. But then it turned out to be really hard to find one that was in good shape. It was a two-month search and I finally found one; it’s having its air conditioning fixed and I’m going to pick it up tomorrow. So, I guess I will be cosplaying 1987. [Laughs]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a fan of the podcast \u003ci>\u003ca href=\"http://www.youmustrememberthispodcast.com/about/\" target=\"_blank\" rel=\"noopener\">You Must Remember This\u003c/a>,\u003c/i> then you awoke to the sad news that the “\u003ca href=\"http://flavorwire.com/520338/the-internets-best-film-podcast-goes-true-crime-and-takes-on-charles-manson\" target=\"_blank\" rel=\"noopener\">Internet’s best film podcast\u003c/a>” is going to stop for a bit: Its creator, \u003ca href=\"http://www.vidiocy.com/bio-and-clips/#bio\" target=\"_blank\" rel=\"noopener\">award-winning film historian\u003c/a> Karina Longworth, is taking a long hiatus so she can finish a book about the Hollywood starlets who dated Howard Hughes (because of course she is).\u003c/p>\n\u003cp>If you’re unfamiliar with the podcast, then this is the perfect time to start listening to the archives. There are only 92 episodes, but the stories that Longworth digs up from the “secret and/or forgotten histories of Hollywood’s first century” are like the movies her subjects starred in — full of passion, heartbreak, tragedy, and unforgettable characters. The tales of Rita Hayworth, Joan Crawford and Spencer Tracy are known to many, but when told with Longworth’s snarky-yet-empathetic spin, they are given new life, and are more palatable to someone with today’s social sensibilities. And if the subject seems unappealing, know that one doesn’t have to be a fan of black-and-white movies from the ’40s and ’50s to enjoy Longworth’s detailing of the career-destroying Hollywood Blacklist or the brutal Manson Family murders.\u003c/p>\n\u003cp>I spoke with Longworth last week so I could have her answer the dozens of questions burning a hole in my brain since I began listening to her show, knowing that she was going to be holed away working on a book for the next several months. Longworth proved to be a fun and patient subject — she obviously understands that few people know as much about classical Hollywood as her — and it was hard to stop asking questions.\u003c/p>\n\u003cp>\u003ci>Interview edited for clarity and length.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Were you always a fan of classical Hollywood?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t remember a time when I wasn’t into old movies. They were primarily what I watched as a kid because my parents weren’t really interested in new movies and didn’t take me to see them and were pretty strict about what I was allowed to see in terms of new movies. There were a couple of new movies that filtered into me, like I saw \u003ci>Ghostbusters\u003c/i> and \u003ci>Back to the Future,\u003c/i> but that’s kind of it. It was pretty much just old Disney movies; we had the Disney channel and the thing about the Disney channel is that they would show old animated movies and old live action movies but then at night they would have — I’m sure it wasn’t called “Disney Channel after dark” but that’s my memory of it — and they’d show Cary Grant movies and Jimmy Stewart movies, and it was supposed to be for adults, but I would watch.\u003c/p>\n\u003cp>\u003cb>You’ve said you heard the podcast in your head before you made it. Did any other shows inspire you to make a podcast?\u003c/b>\u003c/p>\n\u003cp>I was listening to a lot of podcasts but there wasn’t anything that I heard that sounded like what I had in my head. In fact, I wasn’t sure anybody would want to listen to what I had in my head, but I knew that in order to explain to people what it was in my head, I would have to make it, because there wasn’t anything I could point to as an example.\u003c/p>\n\u003cfigure id=\"attachment_12064153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12064153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/London400tmax152-800x476.jpg\" alt=\"How Longworth records her podcast\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/London400tmax152.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">How Longworth records her podcast \u003ccite>(Photo: Meghann Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you come up with your introduction phrase, “Join us, won’t you?”\u003c/b>\u003c/p>\n\u003cp>It’s just one of those things I heard in my head. It was actually one of the important aspects of the show I heard in my head. I wanted the show to feel like something spooky that you would hear late at night on a drive through the middle of nowhere.\u003c/p>\n\u003cp>\u003cb>Are there subjects you enjoy more than others?\u003c/b>\u003c/p>\n\u003cp>Because it’s a lot of work to make the podcast, I try not to even choose to make an episode about a topic I’m not interested in. But within that, certainly there are movies I enjoy watching more than other movies. I think you can tell by the topics I’ve worked on; I’ve definitely talked about more women than men, and there are certain genres that I haven’t gotten into that much. Some of that is just that there’s a lot to do and I haven’t done it all yet. I don’t talk about Westerns all that often because I’m not that knowledgeable about them.\u003c/p>\n\u003cp>On some level the show is about having an excuse to learn about things that I’ve always wanted to learn about but haven’t yet. But on another level, I have to know a little bit about a subject to even go into making a podcast episode about it because if I start from scratch, it’s just too hard.\u003c/p>\n\u003cp>\u003cb>The subjects you cover on the podcast were reported on by both serious journalists and tabloid reporters. How do you balance all the information you come across and make sure it’s factual?\u003c/b>\u003c/p>\n\u003cp>I don’t believe anything I read, really. History is all written from a point of view and I see it all as just stories, whether it’s proven to be true or not; it’s all just a tapestry of public ideas. I take everything with a grain of salt, but there are certain stories that get repeated many, many times and the original source is the \u003cem>New York Times\u003c/em> — those events certainly happened. Then there are other events that are only one or two sources and their reports about it conflict, and those are more interesting to me; a lot of the show is about conflicting details and why somebody would’ve said that something happened this way while someone else said it happened another way. On one level the show is less a work of history and more of a work of historiography because it’s about the way stories are told than the stories themselves.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\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/DNdmGqLMqE4'\n title='//www.youtube.com/embed/DNdmGqLMqE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"wp-caption-text\">\u003ci>This is footage from the first televised Oscars ceremony in 1953 of Gloria Grahame winning the award for Best Supporting Actress. In her episode about Grahame, Longworth reports that what wasn’t aired was Grahame tripping while walking up the stairs and blurting “Oh shit!” when she fell, which became scandal worthy of constant coverage in the tabloids.\u003c/i>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cb>Do you ever feel the need to use your podcast to correct history?\u003c/b>\u003c/p>\n\u003cp>I wouldn’t say “correct” because I don’t know what really happened in any of these cases. The tagline for the show is that it is about the secret and forgotten histories, and for me a lot of the secret history stuff is about looking at these events from the perspective of today, from a female perspective — especially on stories from the 1940s and ’50s. The default voice of American popular culture was from powerful white males. So if you were living a life that didn’t necessarily fit perfectly with the expectations of that default voice, then your story was either skewed or wasn’t told completely. I think coming at it from my perspective, that of a woman who was born near the end of the 20th century and living in the time that we’re in now, I’m able to see things from a different angle and tell a different version of the history.\u003c/p>\n\u003cp>\u003cb>Do you ever feel like you would fit better in the times that you cover, the ’40s or ’50s? Like you were meant to live in the past?\u003c/b>\u003c/p>\n\u003cp>No, I don’t want to time travel or feel like I was born in the wrong time or anything. I would say that I grew up during a time in which it was so much more normal to be interested in movies than it is now. Now it’s almost a specialty to follow anything but Marvel movies, but that’s just times changing and me getting older. 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That’s a real thing that just happened. [Laughs]\u003c/p>\n\u003cp>\u003cb>Was it because it was affordable?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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