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"content": "\u003cp>Most of us are familiar with Bollywood, the largest film industry in India for its 260 million Hindi speakers. But in a country where there are more than 23 officially recognized languages, why should Hindi be the sole recipient of international glory?\u003c/p>\n\u003cp>Enter Tollywood, the lesser known but arguably just as impressive film industry for India’s Telugu speaking population. Never heard of Telugu before? You’re not alone, even though it boasts nearly as many speakers as French. On my first date with my husband, he told me his mother tongue was Telugu. 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(Full disclosure: I’ve actually never read \u003cem>Twelfth Night\u003c/em>, but I did see \u003cem>She’s the Man. C\u003c/em>lassic Bynes, classic Shakespeare: it’s all the same really).\u003c/p>\n\u003cp>In the scene below, the actress, Savitri, portrays Balarama’s daughter who has been purposefully taken over by the spirit of her male cousin to aid in her attempt at sabotaging her upcoming nuptials. While the English subtitles are not available on YouTube, in the loose translation of the lyrics provided by my husband, “Balarama’s daughter is basically saying, ‘My wedding’s going to be fabulous and there’s going to be a shitload of food.’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6l80YC1dcFA\u003c/p>\n\u003cp>Even for those who cannot speak Telugu, the acting, in particular Savriti’s facial expressions, show how comedy can transcend language barriers and cultures. Plus, if you’ve ever tried reading English translations of the Mahabharata, then you know watching this will prove to be the more enjoyable experience.\u003c/p>\n\u003cp>If you don’t like bells and whistles with your films and prefer the more realistic, then you may want to check out \u003cem>Swati Mutyam\u003c/em>, a drama from 1986 that is the only Telugu film to be entered by India as Best Foreign Language Film for the Academy Awards. It’s your classic village love story, replete with a symbolic tulsi plant as powerful as \u003ca href=\"http://67.media.tumblr.com/e2d1e58650cfe8da1e797dde9aec1697/tumblr_inline_nchs18kZZU1s3ot71.gif\">the denim jacket hanging in Ennis Del Mar’s trailer home\u003c/a>. The following clip is not a showstopper, but the song is beautiful nonetheless:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lpRL0kRehEA\u003c/p>\n\u003cp>The last stop on our introduction to Tollywood is \u003cem>A-aa,\u003c/em> a romantic-comedy that came out this past summer. With my mother-in-law visiting for the past three months, we spent a lot of time at the Century Theaters in Union City, which, surprisingly enough, sounds and smells like a cinema in Hyderabad (let’s just say that everyone snuck in a lot of home-cooked, non-theater food).\u003c/p>\n\u003cp>I could best describe \u003cem>A-aa\u003c/em> as the Tollywood equivalent of \u003cem>How to Lose a Guy in Ten Days\u003c/em>, or some other estrogen-rich rom-com starring Kate Hudson or Katherine Heigl, that’s completely forgettable, yet totally hits the spot on a rainy Sunday afternoon. \u003cem>A-aa\u003c/em> centers around a self-absorbed city dweller who goes to stay with her cousin in the village and falls for him, which is socially acceptable in India:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V4KdbX1xvaI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apart from the obvious entertainment value of these movies, watching foreign films opens us up to a new culture and language that we might not otherwise experience. They allow us to see the world from a different vantage point. Through film, the world becomes smaller and our mutual understanding of one another broadens, even if it’s just sharing a silly Tollywood film with your mother-in-law.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us are familiar with Bollywood, the largest film industry in India for its 260 million Hindi speakers. But in a country where there are more than 23 officially recognized languages, why should Hindi be the sole recipient of international glory?\u003c/p>\n\u003cp>Enter Tollywood, the lesser known but arguably just as impressive film industry for India’s Telugu speaking population. Never heard of Telugu before? You’re not alone, even though it boasts nearly as many speakers as French. On my first date with my husband, he told me his mother tongue was Telugu. I cocked my head. “Is that the same as Hindu?” The night then transpired into a screening of my first Tollywood film, \u003cem>Maghadheera\u003c/em> – an epic romantic comedy/drama/action musical saga about lovers from a past life finding each other again in the present.\u003c/p>\n\u003cp>Hands down, the movie's most impressive scene is the music video for \u003cem>Dheera Dheera\u003c/em>, where Ram Charan, the sexiest actor, like, ever, serenades the queen of an ancient empire, his past life lover. Let’s just say he is probably one of the few people I would entrust to undress me with a dagger:\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/oMwyxM9MZ50'\n title='//www.youtube.com/embed/oMwyxM9MZ50'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tollywood -- and Bollywood for that matter -- act as both the film and music industry within their respective regions. Popular songs and music videos are directly lifted from films. Another fun fact is that the actors, who may appear to be singing, are in actuality, pulling a Milli Vanilli.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The male vocalist in \u003cem>Dheera Dheera\u003c/em>, a composer whose name is M.M. Keeravani, has an abundant repertoire of hits that span decades. If you find yourself turning into a super fan after a few listens, keep in mind that he performs in the Bay Area once or twice a year. So set that Google alert!\u003c/p>\n\u003cp>\u003cem>Maghadheera\u003c/em> is a great example of a recent blockbuster in Tollywood, but the classics of any genre are its bread and butter. \u003cem>Maya Bazaar\u003c/em>, produced in 1957 in both Telugu and Tamil, is a comedy revolving around characters from the Hindu epic, the Mahabharata, which plays out like Shakespeare’s \u003cem>Twelfth Night\u003c/em>, complete with elements of gender bending. (Full disclosure: I’ve actually never read \u003cem>Twelfth Night\u003c/em>, but I did see \u003cem>She’s the Man. C\u003c/em>lassic Bynes, classic Shakespeare: it’s all the same really).\u003c/p>\n\u003cp>In the scene below, the actress, Savitri, portrays Balarama’s daughter who has been purposefully taken over by the spirit of her male cousin to aid in her attempt at sabotaging her upcoming nuptials. While the English subtitles are not available on YouTube, in the loose translation of the lyrics provided by my husband, “Balarama’s daughter is basically saying, ‘My wedding’s going to be fabulous and there’s going to be a shitload of food.’”\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/6l80YC1dcFA'\n title='//www.youtube.com/embed/6l80YC1dcFA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even for those who cannot speak Telugu, the acting, in particular Savriti’s facial expressions, show how comedy can transcend language barriers and cultures. Plus, if you’ve ever tried reading English translations of the Mahabharata, then you know watching this will prove to be the more enjoyable experience.\u003c/p>\n\u003cp>If you don’t like bells and whistles with your films and prefer the more realistic, then you may want to check out \u003cem>Swati Mutyam\u003c/em>, a drama from 1986 that is the only Telugu film to be entered by India as Best Foreign Language Film for the Academy Awards. It’s your classic village love story, replete with a symbolic tulsi plant as powerful as \u003ca href=\"http://67.media.tumblr.com/e2d1e58650cfe8da1e797dde9aec1697/tumblr_inline_nchs18kZZU1s3ot71.gif\">the denim jacket hanging in Ennis Del Mar’s trailer home\u003c/a>. The following clip is not a showstopper, but the song is beautiful nonetheless:\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/lpRL0kRehEA'\n title='//www.youtube.com/embed/lpRL0kRehEA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The last stop on our introduction to Tollywood is \u003cem>A-aa,\u003c/em> a romantic-comedy that came out this past summer. With my mother-in-law visiting for the past three months, we spent a lot of time at the Century Theaters in Union City, which, surprisingly enough, sounds and smells like a cinema in Hyderabad (let’s just say that everyone snuck in a lot of home-cooked, non-theater food).\u003c/p>\n\u003cp>I could best describe \u003cem>A-aa\u003c/em> as the Tollywood equivalent of \u003cem>How to Lose a Guy in Ten Days\u003c/em>, or some other estrogen-rich rom-com starring Kate Hudson or Katherine Heigl, that’s completely forgettable, yet totally hits the spot on a rainy Sunday afternoon. \u003cem>A-aa\u003c/em> centers around a self-absorbed city dweller who goes to stay with her cousin in the village and falls for him, which is socially acceptable in India:\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/V4KdbX1xvaI'\n title='//www.youtube.com/embed/V4KdbX1xvaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Apart from the obvious entertainment value of these movies, watching foreign films opens us up to a new culture and language that we might not otherwise experience. They allow us to see the world from a different vantage point. Through film, the world becomes smaller and our mutual understanding of one another broadens, even if it’s just sharing a silly Tollywood film with your mother-in-law.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alexis Arquette, the transgender character actress and sibling of actors David, Rosanna, Richmond and Patricia Arquette, died early Sunday morning in Los Angeles. She was 47 and surrounded by family who serenaded her with David Bowie’s “Starman,” her siblings said in a statement Sunday. No cause of death was given.\u003c/p>\n\u003cp>“Alexis was a brilliant artist and painter, a singer, an entertainer and an actor,” her brothers and sisters said. “We learned what real bravery is through watching her journey of living as a trans woman. We came to discover the one truth — that love is everything.”\u003c/p>\n\u003cp>Alexis was born Robert Arquette in Los Angeles in 1969, and she was a performer from a young age, appearing in a music video for The Tubes’ “She’s a Beauty” at age 12 and the occasional other project.\u003c/p>\n\u003cp>A versatile performer, Arquette got her big break in the 1989 adaptation of \u003cem>Last Exit to Brooklyn\u003c/em> where she played the trans sex worker Georgette. She was just visiting New York with her sister Patricia Arquette who was up for a role in the film, but pregnant at the time.\u003c/p>\n\u003cp>“They asked me if I wanted to read for a role because they knew that I’d done a drag thing at one of my friend’s clubs,” Arquette said in a 1999 \u003cem>Index Magazine\u003c/em> interview. “I ended up getting the job, basically through my sister. If it wasn’t for her, I wouldn’t have been in New York. But nobody gives you a job, you’ve got to earn it on your own. I would never want anyone to think that there’s some kind of cachet to my name.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She also had bit roles in films like \u003cem>Pulp Fiction\u003c/em>, \u003cem>Bride of Chucky\u003c/em> and as a Boy George impersonator first in the Adam Sandler comedy \u003cem>The Wedding Singer\u003c/em> and again in \u003cem>Blended\u003c/em>.\u003c/p>\n\u003cp>Boy George even tweeted his condolences to “his sister Alexis … another bright light gone out far too soon.”\u003c/p>\n\u003cp>Her long list of credits are comprised of mostly low-budget and independent fare. Arquette also performed in nightclubs and cabarets sometimes under the name Eva Destruction.\u003c/p>\n\u003cp>“I enjoy being a character actor, I enjoy being different in everything. I want a private life, I want to be able to go to 7-11 and not get into a fight with a guy because he saw me in a movie, or not have people hitting on me simply because they saw me in a movie,” Arquette said in the 1999 interview. “You want to be wanted for who you are, not what you’ve done or who you’ve become.”\u003c/p>\n\u003cp>Arquette also appeared on season 6 of the VH1 reality series \u003cem>The Surreal Life\u003c/em>, and she was credited for bringing increased awareness and visibility to the transgender community.\u003c/p>\n\u003cp>She chronicled her transition and the process of her sex reassignment surgery in the 2007 documentary \u003cem>Alexis Arquette: She’s My Brother\u003c/em>.\u003c/p>\n\u003cp>In their statement, the Arquettes said that their sister’s career “was cut short, not by her passing, but by her decision to live her truth and her life as a transgender woman.”\u003c/p>\n\u003cp>“Despite the fact that there are few parts for trans actors, she refused to play roles that were demeaning or stereotypical,” they said. “She was a vanguard in the fight for understanding and acceptance for all trans people.”\u003c/p>\n\u003cp>The Arquette family has requested privacy at this time, and that donations be made to organizations that support the LGBTQ community in honor of Alexis Arquette in lieu of flowers or gifts.\u003c/p>\n\u003cp>“We are comforted by the fact that Alexis came into our family and was our brother and then our sister, and that she gave us so much love. We will love you always, Alexis,” said the Arquette siblings. “We know we were the lucky ones.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alexis Arquette, the transgender character actress and sibling of actors David, Rosanna, Richmond and Patricia Arquette, died early Sunday morning in Los Angeles. She was 47 and surrounded by family who serenaded her with David Bowie’s “Starman,” her siblings said in a statement Sunday. No cause of death was given.\u003c/p>\n\u003cp>“Alexis was a brilliant artist and painter, a singer, an entertainer and an actor,” her brothers and sisters said. “We learned what real bravery is through watching her journey of living as a trans woman. We came to discover the one truth — that love is everything.”\u003c/p>\n\u003cp>Alexis was born Robert Arquette in Los Angeles in 1969, and she was a performer from a young age, appearing in a music video for The Tubes’ “She’s a Beauty” at age 12 and the occasional other project.\u003c/p>\n\u003cp>A versatile performer, Arquette got her big break in the 1989 adaptation of \u003cem>Last Exit to Brooklyn\u003c/em> where she played the trans sex worker Georgette. She was just visiting New York with her sister Patricia Arquette who was up for a role in the film, but pregnant at the time.\u003c/p>\n\u003cp>“They asked me if I wanted to read for a role because they knew that I’d done a drag thing at one of my friend’s clubs,” Arquette said in a 1999 \u003cem>Index Magazine\u003c/em> interview. “I ended up getting the job, basically through my sister. If it wasn’t for her, I wouldn’t have been in New York. But nobody gives you a job, you’ve got to earn it on your own. I would never want anyone to think that there’s some kind of cachet to my name.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She also had bit roles in films like \u003cem>Pulp Fiction\u003c/em>, \u003cem>Bride of Chucky\u003c/em> and as a Boy George impersonator first in the Adam Sandler comedy \u003cem>The Wedding Singer\u003c/em> and again in \u003cem>Blended\u003c/em>.\u003c/p>\n\u003cp>Boy George even tweeted his condolences to “his sister Alexis … another bright light gone out far too soon.”\u003c/p>\n\u003cp>Her long list of credits are comprised of mostly low-budget and independent fare. Arquette also performed in nightclubs and cabarets sometimes under the name Eva Destruction.\u003c/p>\n\u003cp>“I enjoy being a character actor, I enjoy being different in everything. I want a private life, I want to be able to go to 7-11 and not get into a fight with a guy because he saw me in a movie, or not have people hitting on me simply because they saw me in a movie,” Arquette said in the 1999 interview. “You want to be wanted for who you are, not what you’ve done or who you’ve become.”\u003c/p>\n\u003cp>Arquette also appeared on season 6 of the VH1 reality series \u003cem>The Surreal Life\u003c/em>, and she was credited for bringing increased awareness and visibility to the transgender community.\u003c/p>\n\u003cp>She chronicled her transition and the process of her sex reassignment surgery in the 2007 documentary \u003cem>Alexis Arquette: She’s My Brother\u003c/em>.\u003c/p>\n\u003cp>In their statement, the Arquettes said that their sister’s career “was cut short, not by her passing, but by her decision to live her truth and her life as a transgender woman.”\u003c/p>\n\u003cp>“Despite the fact that there are few parts for trans actors, she refused to play roles that were demeaning or stereotypical,” they said. “She was a vanguard in the fight for understanding and acceptance for all trans people.”\u003c/p>\n\u003cp>The Arquette family has requested privacy at this time, and that donations be made to organizations that support the LGBTQ community in honor of Alexis Arquette in lieu of flowers or gifts.\u003c/p>\n\u003cp>“We are comforted by the fact that Alexis came into our family and was our brother and then our sister, and that she gave us so much love. We will love you always, Alexis,” said the Arquette siblings. “We know we were the lucky ones.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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\u003ch3>\u003ca href=\"http://www.sflatinofilmfestival.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>\u003c/h3>\n\u003ch5>Various theaters in San Francisco, Berkeley, Oakland and San Jose\u003cbr>\nSept. 16 – Oct. 1\u003cbr>\nTickets: $11-12\u003c/h5>\n\u003cp>The great thing about identity-oriented and geography-specific film festivals is that they present a whole lot of movies that would not play the Bay Area otherwise. The downside, though, is you may not feel invited and included if you’re not part of the “target” audience. \u003c/p>\n\u003cp>Here’s a mantra to get past that small mental block: They’re just movies, people. So check out some of the vibrant offerings at the eighth \u003ca href=\"http://www.sflatinofilmfestival.com/2016-festival-schedule/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>. \u003c/p>\n\u003cp>John Leguizamo plays an inmate in a Colombian prison who bonds with a dog in \u003cem>Perros\u003c/em>, while the Tijuana music scene provides a piquant backdrop for Jose Paredes’ romantic triangle \u003cem>\u003ca href=\"http://www.brownpapertickets.com/event/2596488\" target=\"_blank\" rel=\"noopener\">Amir\u003c/a>\u003c/em>. Plenty of local filmmakers are represented, including Zuzy Martin Lynch and Rick Lynch’s charmingly candid investigation of Cuban-American longing and assimilation, \u003cem>\u003ca href=\"http://www.brownpapertickets.com/event/2596546\" target=\"_blank\" rel=\"noopener\">Craving Cuba\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/Civ_xpZMZ4U\u003c/p>\n\u003ch3>\u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a>\u003c/h3>\n\u003ch5>Gray Area/Grand Theater, San Francisco\u003cbr>\nSept. 16 – Dec. 7\u003cbr>\nTickets: $8-20\u003c/h5>\n\u003cp>The hype is building for virtual reality, which purportedly offers a more visceral viewing experience. Perhaps we’re all sensation junkies, or maybe there’s something to be said for a more active mode of movie-going. Live cinema, or performance cinema, as it’s alternatively known, aspires to disrupt — nay, demolish — the cool, distanced act of showing and watching movies. By messing with (forgive my propensity for technical jargon) the machinery, the materials, images and time, the artist devises a unique show that inevitably conjures the risk and excitement we associate with live performance. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SF Cinematheque’s astonishingly ambitious \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a> program brings a dazzling array of artists from as far away as Scandinavia and Australia for seven programs at Gray Area’s Grand Theater in the Mission. See/hear what all the buzz is about.\u003c/p>\n\u003cfigure id=\"attachment_12041723\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000.jpg\" alt=\"Jürgen Reble (Bonn, Germany), specialized projector used to perform 'Alchemie.'\" width=\"1000\" height=\"675\" class=\"size-full wp-image-12041723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-960x648.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Jürgen Reble (Bonn, Germany), specialized projector used to perform ‘Alchemie.’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>There’s too much happening this week to fit into two paragraphs. The \u003ca href=\"http://www.legacyfilmfestivalonaging.org\" target=\"_blank\" rel=\"noopener\">Legacy Film Festival on Aging\u003c/a> spotlights inspiring depictions of Third and Fourth Age living. The sixth edition takes place Sept. 16-18 at the New People Cinema in Japantown.\u003c/p>\n\u003cp>The New Parkway, always a big supporter of local filmmakers, presents \u003ca href=\"http://www.thenewparkway.com/?page_id=742\" target=\"_blank\" rel=\"noopener\">Oakland Week\u003c/a> Sept. 16-22. Hometown masterworks \u003cem>Fruitvale Station\u003c/em> and \u003cem>The Waiting Room\u003c/em> alternate with \u003cem>Breathin’: The Eddy Zheng Story\u003c/em> and other 2016 titles.\u003c/p>\n\u003cp>And local Oscar-nominated doc maker Jason Cohen opens his new feature, \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/silicon-cowboys/?instance_id=14750\" target=\"_blank\" rel=\"noopener\">Silicon Cowboys\u003c/a>\u003c/em>, at the Roxie on Sept. 16. Truly, you don’t have to be a techie to like it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/7wjJYqUkHd8\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\u003ch3>\u003ca href=\"http://www.sflatinofilmfestival.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>\u003c/h3>\n\u003ch5>Various theaters in San Francisco, Berkeley, Oakland and San Jose\u003cbr>\nSept. 16 – Oct. 1\u003cbr>\nTickets: $11-12\u003c/h5>\n\u003cp>The great thing about identity-oriented and geography-specific film festivals is that they present a whole lot of movies that would not play the Bay Area otherwise. The downside, though, is you may not feel invited and included if you’re not part of the “target” audience. \u003c/p>\n\u003cp>Here’s a mantra to get past that small mental block: They’re just movies, people. So check out some of the vibrant offerings at the eighth \u003ca href=\"http://www.sflatinofilmfestival.com/2016-festival-schedule/\" target=\"_blank\" rel=\"noopener\">San Francisco Latino Film Festival\u003c/a>. \u003c/p>\n\u003cp>John Leguizamo plays an inmate in a Colombian prison who bonds with a dog in \u003cem>Perros\u003c/em>, while the Tijuana music scene provides a piquant backdrop for Jose Paredes’ romantic triangle \u003cem>\u003ca href=\"http://www.brownpapertickets.com/event/2596488\" target=\"_blank\" rel=\"noopener\">Amir\u003c/a>\u003c/em>. Plenty of local filmmakers are represented, including Zuzy Martin Lynch and Rick Lynch’s charmingly candid investigation of Cuban-American longing and assimilation, \u003cem>\u003ca href=\"http://www.brownpapertickets.com/event/2596546\" target=\"_blank\" rel=\"noopener\">Craving Cuba\u003c/a>\u003c/em>.\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/Civ_xpZMZ4U'\n title='//www.youtube.com/embed/Civ_xpZMZ4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a>\u003c/h3>\n\u003ch5>Gray Area/Grand Theater, San Francisco\u003cbr>\nSept. 16 – Dec. 7\u003cbr>\nTickets: $8-20\u003c/h5>\n\u003cp>The hype is building for virtual reality, which purportedly offers a more visceral viewing experience. Perhaps we’re all sensation junkies, or maybe there’s something to be said for a more active mode of movie-going. Live cinema, or performance cinema, as it’s alternatively known, aspires to disrupt — nay, demolish — the cool, distanced act of showing and watching movies. By messing with (forgive my propensity for technical jargon) the machinery, the materials, images and time, the artist devises a unique show that inevitably conjures the risk and excitement we associate with live performance. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SF Cinematheque’s astonishingly ambitious \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a> program brings a dazzling array of artists from as far away as Scandinavia and Australia for seven programs at Gray Area’s Grand Theater in the Mission. See/hear what all the buzz is about.\u003c/p>\n\u003cfigure id=\"attachment_12041723\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000.jpg\" alt=\"Jürgen Reble (Bonn, Germany), specialized projector used to perform 'Alchemie.'\" width=\"1000\" height=\"675\" class=\"size-full wp-image-12041723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-400x270.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/1.-92F16-Alchemie-Projektor-1000-960x648.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Jürgen Reble (Bonn, Germany), specialized projector used to perform ‘Alchemie.’ \u003ccite>(Courtesy of SF Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>There’s too much happening this week to fit into two paragraphs. The \u003ca href=\"http://www.legacyfilmfestivalonaging.org\" target=\"_blank\" rel=\"noopener\">Legacy Film Festival on Aging\u003c/a> spotlights inspiring depictions of Third and Fourth Age living. The sixth edition takes place Sept. 16-18 at the New People Cinema in Japantown.\u003c/p>\n\u003cp>The New Parkway, always a big supporter of local filmmakers, presents \u003ca href=\"http://www.thenewparkway.com/?page_id=742\" target=\"_blank\" rel=\"noopener\">Oakland Week\u003c/a> Sept. 16-22. Hometown masterworks \u003cem>Fruitvale Station\u003c/em> and \u003cem>The Waiting Room\u003c/em> alternate with \u003cem>Breathin’: The Eddy Zheng Story\u003c/em> and other 2016 titles.\u003c/p>\n\u003cp>And local Oscar-nominated doc maker Jason Cohen opens his new feature, \u003cem>\u003ca href=\"http://www.roxie.com/ai1ec_event/silicon-cowboys/?instance_id=14750\" target=\"_blank\" rel=\"noopener\">Silicon Cowboys\u003c/a>\u003c/em>, at the Roxie on Sept. 16. Truly, you don’t have to be a techie to like it.\u003c/p>\n\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/7wjJYqUkHd8'\n title='//www.youtube.com/embed/7wjJYqUkHd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Frozen Live's Color-Blind Casting: Do Children Care as Much as Critics Say They Will?",
"title": "Frozen Live's Color-Blind Casting: Do Children Care as Much as Critics Say They Will?",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">When the much-anticipated \u003c/span>\u003ca href=\"https://disneyland.disney.go.com/entertainment/disney-california-adventure/frozen-live-at-hyperion/\">\u003cspan style=\"font-weight: 400\">\u003cem>Frozen\u003c/em> stage show \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">made its debut a few months ago at Disney’s California Adventure, the show also made news\u003c/span>\u003cspan style=\"font-weight: 400\"> for its non-traditional casting (sometimes called integrated or color-blind casting), which does not consider ethnicity or gender when those aspects are not essential to the role. \u003c/span>\u003cspan style=\"font-weight: 400\">Much of the press was positive à la this\u003c/span>\u003ca href=\"http://hellogiggles.com/color-blind-cast-frozen-disneyland/\">\u003cspan style=\"font-weight: 400\"> happy little news story\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. However, \u003c/span>\u003ca href=\"http://micechat.com/127493-color-blind-casting-frozen-live-hyperion/\">\u003cspan style=\"font-weight: 400\">not everyone was pleased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Objections to non-traditional casting of the show generally come packaged with this type of handwringing:\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-26414\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/lovejoy.gif\" alt=\"lovejoy\" width=\"500\" height=\"270\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A commenter by the name of \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://micechat.com/127493-color-blind-casting-frozen-live-hyperion/#comment-2711500445\">rcurrier\u003c/a> had this to say:\u003c/span>\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">While adults (and I include myself in that group) shouldn't have any problem with color-blind casting, children are going to make up a large portion of the audience and they WILL notice color-blind casting and ask questions (and be disappointed that the REAL Elsa wasn't in the show). The lead characters need to be on-model. If Mulan or Tatiana [sic] was portrayed by a white woman, there would be picketers and boycotts and calls for heads to roll. Disneyland is about the fantasy, there isn't any room for the Political Correctness of color-blind casting in Disneyland. If as a director you feel the need, there are plenty of venues other than Disneyland for you to feed your ego.” \u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Point of order: Mulan, Aladdin and Jasmine are frequently portrayed in the park by actors who are not the race of the characters.\u003c/span>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To see how these casting choices affect the children, I gathered up my own child and her cousin and camped out to get Fast Passes to the show. These girls, aged almost-three and almost-four, were born in the midst of all-out \u003cem>Frozen\u003c/em> mania. They know the music; they’ve memorized the film and they’ve got merch on merch on merch. My kid adores this particularly disturbing doll:\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-26420\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/IMG_20160609_105530-800x1070.jpg\" alt=\"IMG_20160609_105530\" width=\"800\" height=\"1070\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-800x1070.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-400x535.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-768x1027.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-1440x1925.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-1920x2567.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-1180x1578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-960x1283.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the show, I asked the girls what they thought the show would be like.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Almost Three:\u003c/strong> I want to see princesses.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Almost Four:\u003c/strong> I hope the princesses look like a birthday kind.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the show started, Almost Three yelled out, “Where’s Cinderella?” She was quickly distracted by the appearance of Young Kristoff holding a stuffed reindeer representing Sven. “He has a toy! Mama, he has a TOY!” Check and mate, Disney merchandising team.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Almost Four was scandalized by Young Anna in her nightgown. “Mommy, Anna is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">naked!\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">” The actress’s brown skin passed her notice completely.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(For anyone clucking their tongues regarding the girls’ outbursts, please know that we are working to raise Good Citizens of the Theater and they were appropriately shushed each time. There were also a pair of kids playing a game, complete with sound effects, on an iPad right behind us from the moment we were seated to the end of the show.)\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-26419\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/IMG_20160608_143943-800x600.jpg\" alt=\"IMG_20160608_143943\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the show continued, Anna, Elsa and Kristoff became adults. With the layers of costuming, wigs, makeup and lighting effects, it would be difficult for anyone to confidently identify the race of the actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the adult Sven appeared on stage, the auditorium collectively gasped and both girls cried, “Look! Look! Sven!” The reindeer is shockingly well-rendered, save for the puppeteer’s head jutting out from between the beast’s shoulder blades. The girls were delighted; it made me hyperventilate.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/yhnm4FTZ83U?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Forget race. If your kid is the type to struggle with suspension of disbelief, the human head sticking out of the reindeer’s back is going to be a hell of a lot more confusing than a woman of color killing it as Elsa.\u003c/span>\u003c/p>\n\u003cp>There were a few technical mishaps in the show, a few missed notes, but it ended with applause and cheers. Outside the theater, kids in Anna and Elsa dresses were dreamy and twirly. After administering much-needed juice boxes and Pirate’s Booty to the girls, we talked about the show.\u003c/p>\n\u003cp>\u003cstrong>Mom of Almost Three:\u003c/strong> What happened in the show?\u003c/p>\n\u003cp>\u003cstrong>Almost Three:\u003c/strong> I don't know!\u003c/p>\n\u003cp>\u003cstrong>Mom of Almost Three:\u003c/strong> Hmm, did they sing “Let It Go”?\u003c/p>\n\u003cp>\u003cstrong>Almost Three:\u003c/strong> Yeah... And, and, her blanket flew away—whoosh! It flew away because it was time to play.\u003c/p>\n\u003cp>\u003cstrong>Almost Four:\u003c/strong> It was good. I liked it! But Anna and Elsa, I don’t know, their voices? The voices weren’t the same. And they sang different songs. But they did the \u003cem>Frozen\u003c/em> and it was good! And the Duke was so SILLY. He was a chicken monkey! [breaks into lengthy chicken monkey dance]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So there you have it. If you’re worried about the children, you can rest easy.\u003c/p>\n\n",
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"excerpt": "I took my kid to Disneyland's Frozen live show to challenge all the \"Think about the children!\" noise.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">When the much-anticipated \u003c/span>\u003ca href=\"https://disneyland.disney.go.com/entertainment/disney-california-adventure/frozen-live-at-hyperion/\">\u003cspan style=\"font-weight: 400\">\u003cem>Frozen\u003c/em> stage show \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">made its debut a few months ago at Disney’s California Adventure, the show also made news\u003c/span>\u003cspan style=\"font-weight: 400\"> for its non-traditional casting (sometimes called integrated or color-blind casting), which does not consider ethnicity or gender when those aspects are not essential to the role. \u003c/span>\u003cspan style=\"font-weight: 400\">Much of the press was positive à la this\u003c/span>\u003ca href=\"http://hellogiggles.com/color-blind-cast-frozen-disneyland/\">\u003cspan style=\"font-weight: 400\"> happy little news story\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. However, \u003c/span>\u003ca href=\"http://micechat.com/127493-color-blind-casting-frozen-live-hyperion/\">\u003cspan style=\"font-weight: 400\">not everyone was pleased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Objections to non-traditional casting of the show generally come packaged with this type of handwringing:\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-full wp-image-26414\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/lovejoy.gif\" alt=\"lovejoy\" width=\"500\" height=\"270\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A commenter by the name of \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://micechat.com/127493-color-blind-casting-frozen-live-hyperion/#comment-2711500445\">rcurrier\u003c/a> had this to say:\u003c/span>\u003c/span>\u003c/p>\n\u003cblockquote>\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">While adults (and I include myself in that group) shouldn't have any problem with color-blind casting, children are going to make up a large portion of the audience and they WILL notice color-blind casting and ask questions (and be disappointed that the REAL Elsa wasn't in the show). The lead characters need to be on-model. If Mulan or Tatiana [sic] was portrayed by a white woman, there would be picketers and boycotts and calls for heads to roll. Disneyland is about the fantasy, there isn't any room for the Political Correctness of color-blind casting in Disneyland. If as a director you feel the need, there are plenty of venues other than Disneyland for you to feed your ego.” \u003c/span>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-weight: 400\">(Point of order: Mulan, Aladdin and Jasmine are frequently portrayed in the park by actors who are not the race of the characters.\u003c/span>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To see how these casting choices affect the children, I gathered up my own child and her cousin and camped out to get Fast Passes to the show. These girls, aged almost-three and almost-four, were born in the midst of all-out \u003cem>Frozen\u003c/em> mania. They know the music; they’ve memorized the film and they’ve got merch on merch on merch. My kid adores this particularly disturbing doll:\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-26420\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/IMG_20160609_105530-800x1070.jpg\" alt=\"IMG_20160609_105530\" width=\"800\" height=\"1070\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-800x1070.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-400x535.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-768x1027.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-1440x1925.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-1920x2567.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-1180x1578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160609_105530-960x1283.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Before the show, I asked the girls what they thought the show would be like.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Almost Three:\u003c/strong> I want to see princesses.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cstrong>Almost Four:\u003c/strong> I hope the princesses look like a birthday kind.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the show started, Almost Three yelled out, “Where’s Cinderella?” She was quickly distracted by the appearance of Young Kristoff holding a stuffed reindeer representing Sven. “He has a toy! Mama, he has a TOY!” Check and mate, Disney merchandising team.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Almost Four was scandalized by Young Anna in her nightgown. “Mommy, Anna is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">naked!\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">” The actress’s brown skin passed her notice completely.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">(For anyone clucking their tongues regarding the girls’ outbursts, please know that we are working to raise Good Citizens of the Theater and they were appropriately shushed each time. There were also a pair of kids playing a game, complete with sound effects, on an iPad right behind us from the moment we were seated to the end of the show.)\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-26419\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/IMG_20160608_143943-800x600.jpg\" alt=\"IMG_20160608_143943\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-1920x1440.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/IMG_20160608_143943-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the show continued, Anna, Elsa and Kristoff became adults. With the layers of costuming, wigs, makeup and lighting effects, it would be difficult for anyone to confidently identify the race of the actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When the adult Sven appeared on stage, the auditorium collectively gasped and both girls cried, “Look! Look! Sven!” The reindeer is shockingly well-rendered, save for the puppeteer’s head jutting out from between the beast’s shoulder blades. The girls were delighted; it made me hyperventilate.\u003c/span>\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/yhnm4FTZ83U?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Forget race. If your kid is the type to struggle with suspension of disbelief, the human head sticking out of the reindeer’s back is going to be a hell of a lot more confusing than a woman of color killing it as Elsa.\u003c/span>\u003c/p>\n\u003cp>There were a few technical mishaps in the show, a few missed notes, but it ended with applause and cheers. Outside the theater, kids in Anna and Elsa dresses were dreamy and twirly. After administering much-needed juice boxes and Pirate’s Booty to the girls, we talked about the show.\u003c/p>\n\u003cp>\u003cstrong>Mom of Almost Three:\u003c/strong> What happened in the show?\u003c/p>\n\u003cp>\u003cstrong>Almost Three:\u003c/strong> I don't know!\u003c/p>\n\u003cp>\u003cstrong>Mom of Almost Three:\u003c/strong> Hmm, did they sing “Let It Go”?\u003c/p>\n\u003cp>\u003cstrong>Almost Three:\u003c/strong> Yeah... And, and, her blanket flew away—whoosh! It flew away because it was time to play.\u003c/p>\n\u003cp>\u003cstrong>Almost Four:\u003c/strong> It was good. I liked it! But Anna and Elsa, I don’t know, their voices? The voices weren’t the same. And they sang different songs. But they did the \u003cem>Frozen\u003c/em> and it was good! And the Duke was so SILLY. He was a chicken monkey! [breaks into lengthy chicken monkey dance]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So there you have it. If you’re worried about the children, you can rest easy.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re just weeks away from the premiere of the fourth season of \u003cstrong>\u003cem>Film School Shorts\u003c/em>\u003c/strong>! You can already \u003ca target=\"_blank\" href=\"https://www.youtube.com/watch?v=3LpPzGkrt18&list=PLgpmoh4BHEKWlzTCKzjW7yNbhkNJmOKv3\" rel=\"noopener\">preview a few films from the new season online\u003c/a>, but for a number of these short sensations, broadcast television will be the \u003cstrong>only\u003c/strong> place to catch a glimpse of these award-winning \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/09/its-like-a-film-festival-but-with-better-seats/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/09/its-like-a-film-festival-but-with-better-seats/\" target=\"_blank\" title=\"It’s Like a Film Festival — But With Better Seats!\" 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>\u003cp>We’re just weeks away from the premiere of the fourth season of \u003cstrong>\u003cem>Film School Shorts\u003c/em>\u003c/strong>! You can already \u003ca target=\"_blank\" href=\"https://www.youtube.com/watch?v=3LpPzGkrt18&list=PLgpmoh4BHEKWlzTCKzjW7yNbhkNJmOKv3\" rel=\"noopener\">preview a few films from the new season online\u003c/a>, but for a number of these short sensations, broadcast television will be the \u003cstrong>only\u003c/strong> place to catch a glimpse of these award-winning \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/09/its-like-a-film-festival-but-with-better-seats/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/09/09/its-like-a-film-festival-but-with-better-seats/\" target=\"_blank\" title=\"It’s Like a Film Festival — But With Better Seats!\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>An early scene in the new film \u003cem>One More Time with Feeling\u003c/em> finds the songwriter and Bad Seeds bandleader Nick Cave, a lyricist fixated on tales of calamity and redemption, discarding a cornerstone of his career. “I don’t believe in narrative anymore,” he says, gazing out a car window. “I just don’t believe that’s what life is like.”\u003c/p>\n\u003cp>If Cave seems adrift and beset by spiritual crisis, it’s due to the tragic death of his 15-year-old son, who fell from a cliff near the family home in Brighton, England last summer. The incident, though hardly referred to explicitly, stalks every moment of the movie. Cave scoffs, in one scene, at empty “platitudes,” especially the ones dispensed by acquaintances like Hallmark cards, including himself in this indictment as well. “Everything I’m saying,” he says, “is bullshit.”\u003c/p>\n\u003cp>A stirring, gorgeously composed movie about splintering under the weight of grief,\u003cem> One More Time with Feeling\u003c/em> depicts Cave at home and in the studio recording the Bad Seeds’ 16th album, \u003cem>The Skeleton Tree\u003c/em>. The hybrid narrative and documentary film, which premiered in theaters Sept. 8, was directed by Andrew Dominik, who’s worked closely with the songwriter before: Cave and key collaborator Warren Ellis composed a soundtrack for Dominik’s 2007 western, \u003cem>The Assassination of Jesse James by the Coward Robert Ford.\u003c/em>\u003c/p>\n\u003cp>There’s palpable intimacy — Cave, once a famously combative interviewee, smiles naturally enough to undermine years of dour branding — but there are also references to the cameraman and other such nods to documentary contrivance. The 2014 film \u003cem>20,000 Days on Earth\u003c/em>, which ostensibly chronicled Cave writing and recording the Bad Seeds’ last album, similarly combined documentary tropes and screenwriting, though to significantly more misdirecting effect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=svru1jNLIK8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the camera lingers on Cave staring at a piano, the artist voices over his internal dialog, expressing frustration that the chords to a song seem to have escaped him. After his wife brandishes a childhood painting by their late son of the fateful cliffs, Cave recites a poem with the refrain, \u003cem>There’s more paradise in hell than we’ve been told\u003c/em>. That Cave’s fictions sometimes seem prophetic is a potent theme.\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling\u003c/em> is partly a performance film. Black-and-white cinematography renders the studio-cum-venue in vivid tones, lit neither too starkly nor ethereally, and the camera floats about really rather freely. The band plays almost all of \u003cem>The Skeleton Tree\u003c/em>, a spare album composed of piano patter, accentual strings, and Ellis’ rippling electronic effects. But with the intensity of little more than a murmuring thrum, it envelops.\u003c/p>\n\u003cp>It’s telling that at one point in the movie Cave and his band mates mention disagreeing about where exactly the turnaround beat rests in a song. \u003cem>The Skeleton Tree\u003c/em> is one of most of amorphous albums in the Bad Seeds’ catalog, unmoored from the ballad structures and plodding grooves that underpin so much of the group’s material.\u003c/p>\n\u003cp>And Cave actually improvises many passages on the record. He’s less composed than usual. They’re not densely literary songs. At least, not compared to something like \u003cem>Push the Sky Away\u003c/em>’s oblique interrogation of faith and science, “Higgs Boson Blues.” And yet his wavering intonation of simple, direct phrases such as “Nothing really matters,” or “They told us our gods would outlive us / But they lied” resonates instead with its vulnerability.\u003c/p>\n\u003cp>It’s a departure from the image, cultivated throughout Cave’s career, of the scholar in pop culture exile, the lyrical tactician who reproduces excerpts from his notebook for fans. But his relationship to words, which he once feared and revered, as a moving segment of \u003cem>One More Time with Feeling\u003c/em> illustrates, is broken. Writers often turn personal experience into material. “But this kind of trauma,” he says, “it was extremely damaging to the creative process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling runs in limited encore screenings at the Roxie Theater in SF from Sept. 9 – 11. \u003ca href=\"http://www.roxie.com/ai1ec_event/one-more-time-with-feeling/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the camera lingers on Cave staring at a piano, the artist voices over his internal dialog, expressing frustration that the chords to a song seem to have escaped him. After his wife brandishes a childhood painting by their late son of the fateful cliffs, Cave recites a poem with the refrain, \u003cem>There’s more paradise in hell than we’ve been told\u003c/em>. That Cave’s fictions sometimes seem prophetic is a potent theme.\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling\u003c/em> is partly a performance film. Black-and-white cinematography renders the studio-cum-venue in vivid tones, lit neither too starkly nor ethereally, and the camera floats about really rather freely. The band plays almost all of \u003cem>The Skeleton Tree\u003c/em>, a spare album composed of piano patter, accentual strings, and Ellis’ rippling electronic effects. But with the intensity of little more than a murmuring thrum, it envelops.\u003c/p>\n\u003cp>It’s telling that at one point in the movie Cave and his band mates mention disagreeing about where exactly the turnaround beat rests in a song. \u003cem>The Skeleton Tree\u003c/em> is one of most of amorphous albums in the Bad Seeds’ catalog, unmoored from the ballad structures and plodding grooves that underpin so much of the group’s material.\u003c/p>\n\u003cp>And Cave actually improvises many passages on the record. He’s less composed than usual. They’re not densely literary songs. At least, not compared to something like \u003cem>Push the Sky Away\u003c/em>’s oblique interrogation of faith and science, “Higgs Boson Blues.” And yet his wavering intonation of simple, direct phrases such as “Nothing really matters,” or “They told us our gods would outlive us / But they lied” resonates instead with its vulnerability.\u003c/p>\n\u003cp>It’s a departure from the image, cultivated throughout Cave’s career, of the scholar in pop culture exile, the lyrical tactician who reproduces excerpts from his notebook for fans. But his relationship to words, which he once feared and revered, as a moving segment of \u003cem>One More Time with Feeling\u003c/em> illustrates, is broken. Writers often turn personal experience into material. “But this kind of trauma,” he says, “it was extremely damaging to the creative process.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>One More Time with Feeling runs in limited encore screenings at the Roxie Theater in SF from Sept. 9 – 11. \u003ca href=\"http://www.roxie.com/ai1ec_event/one-more-time-with-feeling/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>London Road\u003c/em> is not the first musical to be made about a real-life serial killer. But it may be the first to draw its poetic life-blood from the testimony of residents of a rural English town where five prostitutes were found murdered in 2006. Aside from a wicked moment or two when a leering movie star known for playing unsavory fellows shows up to throw us off the scent, this is not about the murderer. It’s about the undoing — and remaking — of a community in its own words, owing more to Shirley Jackson than \u003cem>Masterpiece Theater\u003c/em>.\u003c/p>\n\u003cp>As it happens, the film was worked up from a National Theater workshop that grew into a hit stage play. This is not Shakespeare or Sheridan though, nor is it one of those lofty-lefty bits by West End playwrights with their gun sights fixed on the ruling class. \u003cem>London Road\u003c/em> beams its sympathy, as well as an irreverent eye, on one lower-middle-class street in Ipswich, Suffolk, whose residents have long resented the sex workers plying their trade under the noses of the righteous and respectable. It helps to know going in that the cultural gulf between the British lower-middle and working class is wide and deep, in no small measure because only a smidgen of bad luck separates the one from the other.\u003c/p>\n\u003cp>When the five women are found dead and the chief suspect — a transient truck driver dubbed the Ipswich Ripper — is arrested in a neglected house on the same street, London Road quickly becomes the focus of a media circus, followed by painful introspection within the community about its own claims to good character. All the residents are played by actors, one or two of whom you’ll be able to name. Every line they utter — the script is by Alecky Blythe, who specializes in “verbatim theatre,” a la Anna Deavere Smith — is taken from recorded interviews. So there’s a documentary impulse at work here that’s integral to British realism. But \u003cem>London Road\u003c/em> is an entirely different animal from any film by Mike Leigh or Ken Loach or Stephen Frears.\u003c/p>\n\u003cp>Based on the play by director Rufus Norris (\u003cem>Broken\u003c/em>), \u003cem>London Road\u003c/em> fairly bristles with visible technique. This is because it’s a famously hellish prospect to adapt a stage play for the screen: You have to get the action out of the house, and you have to put a stop to all that declaiming. As with other filmed versions of National Theater productions that have brought the best of British theater to North America, a swooping, restless camera follows the players around their hitherto obscure town as they wring their hands about the identity of their resident serial killer. Paranoia blooms, and suspects appear in sinister close-ups that make you wonder not simply who the perp might be, but who the women’s regular customers were.\u003c/p>\n\u003cp>Once you get used to the film’s most potent strategy — the incantatory repetition of dialogue in song and sing-song — it takes on the cadence of hypnotic poetry, a Greek chorus that picks out a billowing unease that only begins to spread following a trial verdict that was meant to bring closure. Yes, London Road will spruce itself up with a riot of color in hanging baskets and bunting and block parties and doors thrown open to neighbors. Yes, there will be jubilant togetherness — for everyone but the now under-employed prostitutes, who sound a desolate, lonely voice from the gasworks at the end of the street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the climax, \u003cem>London Road\u003c/em> administers a well-aimed kick to complacent liberalism when the heroic organizer of the community’s rebirth, a single parent named Julie played by Olivia Colman, delivers a frank opinion about the streetwalkers’ fate, while her teenaged daughter squirms on the couch beside her. As Shirley Jackson so well understood in her masterpiece, \u003cem>The Lottery\u003c/em>, no community coheres without its sacrificial lamb. \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=On+%27London+Road%2C%27+Murder%2C+Music+And+British+Lower-Middle-Class+Manners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"headTitle": "Creepy Sci-Fi, Haunted Mansions and a Cute Cat: What to Watch on ‘Film School Shorts’ | KQED",
"content": "\u003cp>Getting tired of the same old, same old on the TV? Worse still, do you struggle each night to find something, anything, remotely inspiring in the dregs of Netflix or Amazon Prime now that you’ve watched every single available episode of \u003ci>Game of Thrones\u003c/i>, \u003ci>Stranger Things\u003c/i> and \u003ci>Battlestar Galactica\u003c/i>? \u003c/p>\n\u003cp>For those of you inclined towards what we’ll call “unreality television” — the shows providing us with nightmares of the zombie/alien/dragon variety — this year’s season of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> will not disappoint.\u003c/p>\n\u003cp>Here are six reasons to tune in to your local PBS station starting this very Friday, Sept. 9 for the fourth season of \u003cem>Film School Shorts\u003c/em>. We could all use a little bit of distraction from the very real realness of our current day. \u003c/p>\n\u003cfigure id=\"attachment_12037302\" 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/Zelos.jpg\" alt=\"Still from 'Zelos.'\" width=\"640\" height=\"239\" class=\"size-full wp-image-12037302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Zelos.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Zelos-400x149.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Zelos.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Zelos\u003c/i>\u003c/h3>\n\u003ch5>Episode 401: “Future”\u003cbr>\nAirs Friday, Sept. 9, 8:30pm\u003c/h5>\n\u003cp>Here in the present, we continue to debate whether or not women can “have it all” (and even if they should want to “have it all”) when it comes to career and familial success. But \u003ci>Zelos\u003c/i> offers us a glimpse into potential future, where “can I?” turns into “why wouldn’t I?” \u003c/p>\n\u003cp>The change comes, as it so often does, with the advent of a new technology — a custom-made clone — to lift the burden of baking, family game night and tidying up around the house from wife and mother Maria. How often have we all said, “I just wish I could clone myself!” in an exhausted and on-the-verge-of-tears tone? \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maria dives into what seems to be a no-lose situation, devoting her own body to training for a race while her clone’s body takes on the menial chores. But as sci-fi teaches us, doppelgängers usually spell disaster — or at the very least, discomfort — despite their temporary benefits. \u003c/p>\n\u003cp>Think \u003ci>The One I Love\u003c/i> meets The Stepford Wives meets \u003ci>The Ice Storm\u003c/i> and you’ll have a sense of the deliciously creepy world \u003ci>Zelos\u003c/i> introduces.\u003c/p>\n\u003cfigure id=\"attachment_12037298\" 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/Timmy.jpg\" alt=\"Still from 'Timmy II.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-12037298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Timmy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Timmy-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Timmy II.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Timmy II\u003c/i>\u003c/h3>\n\u003ch5>Episode 402: “America”\u003cbr>\nAirs Friday, Sept. 16, 8:30pm\u003c/h5>\n\u003cp>South Bay native Imran J. Khan maintains a lighthearted tone throughout this tale of fatherly love, post-9/11 xenophobia, the subprime mortgage crisis, Arab Spring and what it means to be “unique” even if you’re a robot version of a dead human. \u003c/p>\n\u003cp>When a housing developer’s son dies in a “tragic tractor football accident,” he does the logical thing (if you’re a modern-day Dr. Frankenstein) and builds “Timmy II,” to replace his progeny, complete with the late Timmy’s heart. It only gets weirder from there. \u003c/p>\n\u003cp>Highlights include a \u003ca href=\"https://www.youtube.com/watch?v=T8EURqoKLY8\" target=\"_blank\" rel=\"noopener\">“Man or Muppet”\u003c/a>-esque musical interlude, an ill-timed head transplant from a degenerate doctor and an unlikely friendship in an unidentified Middle-Eastern prison. \u003c/p>\n\u003cp>Like his predecessor Forrest Gump, Timmy II has the knack for being in the right place at the right time, experiencing large-scale historical moments as deeply personal events. And in the process, \u003ci>Timmy II\u003c/i> proves that even with developments in the fields of heart and head transplants, robots don’t have it any better than we do.\u003c/p>\n\u003cfigure id=\"attachment_12037300\" 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/ChaosDanger.jpg\" alt=\"Still from 'The Life and Death of Tommy Chaos and Stacey Danger.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-12037300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ChaosDanger.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ChaosDanger-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Life and Death of Tommy Chaos and Stacey Danger.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Life and Death of Tommy Chaos and Stacey Danger\u003c/i>\u003c/h3>\n\u003ch5>Episode 406: “Crossed Stars”\u003cbr>\nAirs Friday, Oct. 14, 8:30pm\u003c/h5>\n\u003cp>Like \u003ci>Timmy II\u003c/i>, charming voice-over narration guides this story of two incorrigible adventurers as we follow them from trench warfare against alien T-rexes to a \u003ci>Life Aquatic\u003c/i>-like underwater romance to marriage — and its discontents — in space.\u003c/p>\n\u003cp>“Blame it on the lack of gravity, but something was different,” says the omniscient voice, setting up a conflict between the title characters as old as the Earth dinosaurs. Tommy and Stacey, amazing as they are, still have to deal with normal people stuff: overly romanticized relationships, the realities of long-term commitment and how to get your groove back when you don’t even recognize yourself anymore. \u003c/p>\n\u003cp>At turns languid and break-neck, \u003ci>The Life and Death of Tommy Chaos and Stacey Danger\u003c/i> is an ode to all things fantastic, yes, but also a lesson in the ways in which fantasy can help or hinder a relationship, even when you’re a T-rex-fighting, celery-wielding astronaut from the future.\u003c/p>\n\u003cfigure id=\"attachment_12037301\" 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/FoolOfPeople.jpg\" alt=\"Still from 'Fool of People.'\" width=\"640\" height=\"358\" class=\"size-full wp-image-12037301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FoolOfPeople.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FoolOfPeople-400x224.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Fool of People.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Fool of People\u003c/i>\u003c/h3>\n\u003ch5>Episode 406: “Crossed Stars”\u003cbr>\nAirs Friday, Oct. 14, 8:30pm\u003c/h5>\n\u003cp>Wordless, jaunty, magical, José Rodríguez’s sweet short short (just under three minutes) takes us on a tour through a convivial gathering at what might be a haunted mansion. Suffice to say, the imagined conversations at this soirée could fuel an entire 22-episode arc during the glory days of network TV. The character list includes: a wine-drinking cloud of smoke, newspaper-reading teacups, anthropomorphic victrolas and various animal-headed people doing various things. \u003c/p>\n\u003cp>This short made me want to throw a costume party.\u003c/p>\n\u003cfigure id=\"attachment_12060117\" 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/ExpirationToast-1180x670.jpg\" alt=\"Still from ‘Expiration Date.’\" width=\"640\" height=\"363\" class=\"size-large wp-image-12060117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-1180x670.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-960x545.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Expiration Date.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Expiration Date\u003c/i>\u003c/h3>\n\u003ch5>Episode 409: “Behind Closed Doors”\u003cbr>\nAirs Friday, Nov. 4, 8:30pm\u003c/h5>\n\u003cp>Before Seth Rogen and crew got us used to the idea that our foods have feelings (and desires) too, Sarah Tejada brought a kitchen-themed zombie disaster flick to life with stop motion animation. A lot happens in four minutes: friendships are tested, sacrifices are made, old attractions are put to rest as a chocolate chip cookie, a sandwich and a carrot fight against “the plague” (aka being perishable). \u003c/p>\n\u003cp>Like \u003ci>The Walking Dead\u003c/i>, the villains in \u003ci>Expiration Date\u003c/i>, aren’t quite dead and they aren’t quite alive — they’re “expired.” And like \u003ci>The Walking Dead\u003c/i>, the foolish members of this party of survivors are the ones who unfairly live the longest. Look out for: excellent puns and the most expressive googly eyes you’ll ever see.\u003c/p>\n\u003cfigure id=\"attachment_12037304\" 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/trashcat.jpg\" alt=\"Still from 'Trash Cat.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-12037304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/trashcat.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/trashcat-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Trash Cat.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Trash Cat\u003c/i>\u003c/h3>\n\u003ch5>Episode 410: “Our Culture”\u003cbr>\nAirs Friday, Nov. 11, 8:30pm\u003c/h5>\n\u003cp>I can’t get enough of this one. Looking for attention while its owner plays a videogame, a kerchief-wearing cat (potentially the cutest cat in all of animated history) knocks over a trashcan. (It might also be the most annoying cat in all of animated history.) Through a bit of animal meets technology magic, the cat is transformed and yet it remains fundamentally the same; knocking over trashcans is its overriding concern.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Seriously though, \u003ci>Trash Cat\u003c/i> asks the hard questions. Like: What’s the dividing line between our digital lives and our real lives, when everything we do is increasingly digital? Do \u003ci>not\u003c/i> look away when this one goes to credits. Kelsey Goldych has an extra treat for you at the end, like all the best blockbusters of the summer franchise variety. Fingers crossed for a \u003ci>Trash Cat\u003c/i> sequel.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Getting tired of the same old, same old on the TV? Worse still, do you struggle each night to find something, anything, remotely inspiring in the dregs of Netflix or Amazon Prime now that you’ve watched every single available episode of \u003ci>Game of Thrones\u003c/i>, \u003ci>Stranger Things\u003c/i> and \u003ci>Battlestar Galactica\u003c/i>? \u003c/p>\n\u003cp>For those of you inclined towards what we’ll call “unreality television” — the shows providing us with nightmares of the zombie/alien/dragon variety — this year’s season of \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Film School Shorts\u003c/em>\u003c/a> will not disappoint.\u003c/p>\n\u003cp>Here are six reasons to tune in to your local PBS station starting this very Friday, Sept. 9 for the fourth season of \u003cem>Film School Shorts\u003c/em>. We could all use a little bit of distraction from the very real realness of our current day. \u003c/p>\n\u003cfigure id=\"attachment_12037302\" 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/Zelos.jpg\" alt=\"Still from 'Zelos.'\" width=\"640\" height=\"239\" class=\"size-full wp-image-12037302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Zelos.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Zelos-400x149.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Zelos.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Zelos\u003c/i>\u003c/h3>\n\u003ch5>Episode 401: “Future”\u003cbr>\nAirs Friday, Sept. 9, 8:30pm\u003c/h5>\n\u003cp>Here in the present, we continue to debate whether or not women can “have it all” (and even if they should want to “have it all”) when it comes to career and familial success. But \u003ci>Zelos\u003c/i> offers us a glimpse into potential future, where “can I?” turns into “why wouldn’t I?” \u003c/p>\n\u003cp>The change comes, as it so often does, with the advent of a new technology — a custom-made clone — to lift the burden of baking, family game night and tidying up around the house from wife and mother Maria. How often have we all said, “I just wish I could clone myself!” in an exhausted and on-the-verge-of-tears tone? \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maria dives into what seems to be a no-lose situation, devoting her own body to training for a race while her clone’s body takes on the menial chores. But as sci-fi teaches us, doppelgängers usually spell disaster — or at the very least, discomfort — despite their temporary benefits. \u003c/p>\n\u003cp>Think \u003ci>The One I Love\u003c/i> meets The Stepford Wives meets \u003ci>The Ice Storm\u003c/i> and you’ll have a sense of the deliciously creepy world \u003ci>Zelos\u003c/i> introduces.\u003c/p>\n\u003cfigure id=\"attachment_12037298\" 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/Timmy.jpg\" alt=\"Still from 'Timmy II.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-12037298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Timmy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Timmy-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Timmy II.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Timmy II\u003c/i>\u003c/h3>\n\u003ch5>Episode 402: “America”\u003cbr>\nAirs Friday, Sept. 16, 8:30pm\u003c/h5>\n\u003cp>South Bay native Imran J. Khan maintains a lighthearted tone throughout this tale of fatherly love, post-9/11 xenophobia, the subprime mortgage crisis, Arab Spring and what it means to be “unique” even if you’re a robot version of a dead human. \u003c/p>\n\u003cp>When a housing developer’s son dies in a “tragic tractor football accident,” he does the logical thing (if you’re a modern-day Dr. Frankenstein) and builds “Timmy II,” to replace his progeny, complete with the late Timmy’s heart. It only gets weirder from there. \u003c/p>\n\u003cp>Highlights include a \u003ca href=\"https://www.youtube.com/watch?v=T8EURqoKLY8\" target=\"_blank\" rel=\"noopener\">“Man or Muppet”\u003c/a>-esque musical interlude, an ill-timed head transplant from a degenerate doctor and an unlikely friendship in an unidentified Middle-Eastern prison. \u003c/p>\n\u003cp>Like his predecessor Forrest Gump, Timmy II has the knack for being in the right place at the right time, experiencing large-scale historical moments as deeply personal events. And in the process, \u003ci>Timmy II\u003c/i> proves that even with developments in the fields of heart and head transplants, robots don’t have it any better than we do.\u003c/p>\n\u003cfigure id=\"attachment_12037300\" 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/ChaosDanger.jpg\" alt=\"Still from 'The Life and Death of Tommy Chaos and Stacey Danger.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-12037300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ChaosDanger.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ChaosDanger-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Life and Death of Tommy Chaos and Stacey Danger.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Life and Death of Tommy Chaos and Stacey Danger\u003c/i>\u003c/h3>\n\u003ch5>Episode 406: “Crossed Stars”\u003cbr>\nAirs Friday, Oct. 14, 8:30pm\u003c/h5>\n\u003cp>Like \u003ci>Timmy II\u003c/i>, charming voice-over narration guides this story of two incorrigible adventurers as we follow them from trench warfare against alien T-rexes to a \u003ci>Life Aquatic\u003c/i>-like underwater romance to marriage — and its discontents — in space.\u003c/p>\n\u003cp>“Blame it on the lack of gravity, but something was different,” says the omniscient voice, setting up a conflict between the title characters as old as the Earth dinosaurs. Tommy and Stacey, amazing as they are, still have to deal with normal people stuff: overly romanticized relationships, the realities of long-term commitment and how to get your groove back when you don’t even recognize yourself anymore. \u003c/p>\n\u003cp>At turns languid and break-neck, \u003ci>The Life and Death of Tommy Chaos and Stacey Danger\u003c/i> is an ode to all things fantastic, yes, but also a lesson in the ways in which fantasy can help or hinder a relationship, even when you’re a T-rex-fighting, celery-wielding astronaut from the future.\u003c/p>\n\u003cfigure id=\"attachment_12037301\" 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/FoolOfPeople.jpg\" alt=\"Still from 'Fool of People.'\" width=\"640\" height=\"358\" class=\"size-full wp-image-12037301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FoolOfPeople.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/FoolOfPeople-400x224.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Fool of People.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Fool of People\u003c/i>\u003c/h3>\n\u003ch5>Episode 406: “Crossed Stars”\u003cbr>\nAirs Friday, Oct. 14, 8:30pm\u003c/h5>\n\u003cp>Wordless, jaunty, magical, José Rodríguez’s sweet short short (just under three minutes) takes us on a tour through a convivial gathering at what might be a haunted mansion. Suffice to say, the imagined conversations at this soirée could fuel an entire 22-episode arc during the glory days of network TV. The character list includes: a wine-drinking cloud of smoke, newspaper-reading teacups, anthropomorphic victrolas and various animal-headed people doing various things. \u003c/p>\n\u003cp>This short made me want to throw a costume party.\u003c/p>\n\u003cfigure id=\"attachment_12060117\" 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/ExpirationToast-1180x670.jpg\" alt=\"Still from ‘Expiration Date.’\" width=\"640\" height=\"363\" class=\"size-large wp-image-12060117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-1180x670.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-800x454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-768x436.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/ExpirationToast-960x545.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Expiration Date.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Expiration Date\u003c/i>\u003c/h3>\n\u003ch5>Episode 409: “Behind Closed Doors”\u003cbr>\nAirs Friday, Nov. 4, 8:30pm\u003c/h5>\n\u003cp>Before Seth Rogen and crew got us used to the idea that our foods have feelings (and desires) too, Sarah Tejada brought a kitchen-themed zombie disaster flick to life with stop motion animation. A lot happens in four minutes: friendships are tested, sacrifices are made, old attractions are put to rest as a chocolate chip cookie, a sandwich and a carrot fight against “the plague” (aka being perishable). \u003c/p>\n\u003cp>Like \u003ci>The Walking Dead\u003c/i>, the villains in \u003ci>Expiration Date\u003c/i>, aren’t quite dead and they aren’t quite alive — they’re “expired.” And like \u003ci>The Walking Dead\u003c/i>, the foolish members of this party of survivors are the ones who unfairly live the longest. Look out for: excellent puns and the most expressive googly eyes you’ll ever see.\u003c/p>\n\u003cfigure id=\"attachment_12037304\" 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/trashcat.jpg\" alt=\"Still from 'Trash Cat.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-12037304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/trashcat.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/trashcat-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Trash Cat.’ \u003ccite>(Courtesy of Film School Shorts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Trash Cat\u003c/i>\u003c/h3>\n\u003ch5>Episode 410: “Our Culture”\u003cbr>\nAirs Friday, Nov. 11, 8:30pm\u003c/h5>\n\u003cp>I can’t get enough of this one. Looking for attention while its owner plays a videogame, a kerchief-wearing cat (potentially the cutest cat in all of animated history) knocks over a trashcan. (It might also be the most annoying cat in all of animated history.) Through a bit of animal meets technology magic, the cat is transformed and yet it remains fundamentally the same; knocking over trashcans is its overriding concern.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seriously though, \u003ci>Trash Cat\u003c/i> asks the hard questions. Like: What’s the dividing line between our digital lives and our real lives, when everything we do is increasingly digital? Do \u003ci>not\u003c/i> look away when this one goes to credits. Kelsey Goldych has an extra treat for you at the end, like all the best blockbusters of the summer franchise variety. Fingers crossed for a \u003ci>Trash Cat\u003c/i> sequel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Justin Tipping’s Richmond-Set ‘Kicks,’ Violence is a Rite of Passage",
"headTitle": "In Justin Tipping’s Richmond-Set ‘Kicks,’ Violence is a Rite of Passage | KQED",
"content": "\u003cp>Justin Tipping’s debut feature-length film, \u003ci>Kicks\u003c/i> (opening Sept. 9), follows Richmond teenager Brandon on an East Bay odyssey to recover his new, and only, pair of shoes. It’s a coming-of-age movie. But the choices Brandon makes on screen reinforce the idea that a violent solution to conflict is the only solution. To become a man in \u003ci>Kicks\u003c/i>, aggression is a rite of passage.\u003c/p>\n\u003cp>\u003ci>Kicks\u003c/i> is the third in a recent spate of debut features set in Oakland and Richmond neighborhoods. Like Ryan Coogler (\u003ci>Fruitvale Station\u003c/i>) and Jason Zeldes (\u003ci>Romeo is Bleeding\u003c/i>), Tipping demonstrates a precise sense of place, as well as a personal intimacy with the people of the East Bay. All three of these films are energized by the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement, which offers a shorthand to group them together. But it is in response to themes of violence that the films differ greatly, both in terms of narrative style and the disparate emotional responses each story evokes.\u003c/p>\n\u003cp>\u003ci>Kicks\u003c/i> draws from Tipping’s own experience growing up on the El Cerrito/Richmond border. Like its predecessors, \u003cem>Kicks\u003c/em> captures the look and feel of specific East Bay neighborhoods by examining their geographical and emotional microclimates. “Where I grew up, it was two blocks that way, we cannot go. And two blocks that way was a whole other world,” Tipping says. “The one intersection you had was public school. There you met so many people from all walks of life.”\u003c/p>\n\u003cfigure id=\"attachment_12030739\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/kicks-L9999577_R_rgb.jpg\" alt=\"Jahking Guillory, Christopher Meyer and Christopher Jordan Wallace star in 'Kicks.'\" width=\"720\" height=\"484\" class=\"size-full wp-image-12030739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9999577_R_rgb.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9999577_R_rgb-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jahking Guillory, Christopher Meyer and Christopher Jordan Wallace star in ‘Kicks.’ \u003ccite>(Courtesy of Focus World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brandon is shorter than other kids his age, and there are many predators. Tipping too was once easy prey. Of the event that inspired \u003ci>Kicks\u003c/i>, he says, “It was the first time I had saved up and bought my first pair of Nikes. They were all white, coke white, as they say. You have to keep them clean. That’s what singled me out. There was about ten kids that piled out of two cars. First thing I heard was, ‘He’s got the Prestos.’ I got stomped out and beat down.” And so does Brandon.\u003c/p>\n\u003cp>Unlike Brandon, Tipping didn’t seek revenge. The film, however, depicts a punishing sense of physical violence. When an uncle offers him a gun, Brandon momentarily pauses then reaches for it. \u003cem>Kicks\u003c/em> sidesteps nuance in favor of action. Brandon’s frustrations overrule his common sense, and chaos ensues.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2013’s \u003cem>Fruitvale Station\u003c/em>, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/24/oakland-born-director-of-fruitvale-station-makes-creed-personal/\" target=\"_blank\" rel=\"noopener\">Ryan Coogler\u003c/a> chronicles the last days of Oscar Grant’s life before he was shot and killed by BART police officer Johannes Mehserle. Coogler’s script humanizes Grant, giving him flaws and strengths. The film also nags at your conscience: What if he’d kept his job, stayed in the East Bay, or taken a different train? It doesn’t absolve Mehserle of fatally shooting Grant in the early hours of New Year’s Day in 2009, but Coogler leads us to believe that opportunity is fate: if given the chance, or even a second chance, we can have healthy, productive lives.\u003c/p>\n\u003cfigure id=\"attachment_12030738\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/kicks-L9995386_R_rgb.jpg\" alt=\"Jahking Guillory stars at Brandon in 'Kicks.'\" width=\"720\" height=\"484\" class=\"size-full wp-image-12030738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9995386_R_rgb.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9995386_R_rgb-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jahking Guillory stars at Brandon in ‘Kicks.’ \u003ccite>(Courtesy of Focus World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Jason Zeldes’ 2015 documentary \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2015/04/28/romeo-is-bleeding-director-jason-zeldes-and-richmonds-raw-talent/\" target=\"_blank\" rel=\"noopener\">Romeo Is Bleeding\u003c/a>,\u003c/em> the director tells the story of Donté Clark, a poet and playwright based in Richmond. Clark lives in the middle of a turf war. His art is thriving because of an educational opportunity, but he’s also struggling to remain hopeful about the violence in his community. One of the promotional images for the film shows Clark posed in front of a BART map. The photograph draws an immediate and provocative parallel to Grant’s fate. While school may be a safe space, getting there and back is not.\u003c/p>\n\u003cp>Of these three films, \u003cem>Kicks\u003c/em> intends to reach an adolescent audience. From the settings (high school, playgrounds, urban streets) to the language and music, to the lack of any lingering adult presence, the filmmaker works hard to create a brutal yet relatable world for Brandon to be adrift and alienated in. But the more complex task of engendering talks about cycles of violence after the credits close seems unlikely.\u003c/p>\n\u003cp>Tipping remembers coming home to his brothers after his Nikes were stolen. “They were trying to console me and make me feel better,” he says. “They looked me in the eye and were like, ‘It’s okay. You’re a man now.’ It was that moment, specifically, that made me want to tell this story. At that moment I was proud, but at the same time, deeply saddened. In retrospect, it made me question why is violence synonymous with masculinity.”\u003c/p>\n\u003cp>https://youtu.be/wWV2hK4HVEk\u003c/p>\n\u003cp>Similarly, Brandon’s two best friends keep picking him up after he’s beaten down. He may be bloodied but they laugh it off. It’s how they cope. And maybe kids in the audience who know this world will be laughing too.\u003c/p>\n\u003cp>But it isn’t funny. In real life, the weight of some imminent threat, of living an unprotected life, is terrifying. The director claims that in depicting the use of guns he wants the audience to “have a discussion of ending the cycle of violence. Gun violence is this other epidemic.”\u003c/p>\n\u003cp>If Tipping wanted the audience to engage intellectually with Brandon’s dilemma, did he think of giving him another option to pursue, one without guns? “No,” Tipping says. “That would be a boring story.” Both Coogler and Zeldes might disagree.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Kicks\u003c/b> opens at the Grand Lake Theater in Oakland, Friday, Sept. 9. For tickets and more information visit \u003ca href=\"http://www.renaissancerialto.com/\" target=\"_blank\" rel=\"noopener\">renaissancecerialto.com\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Justin Tipping’s debut feature-length film, \u003ci>Kicks\u003c/i> (opening Sept. 9), follows Richmond teenager Brandon on an East Bay odyssey to recover his new, and only, pair of shoes. It’s a coming-of-age movie. But the choices Brandon makes on screen reinforce the idea that a violent solution to conflict is the only solution. To become a man in \u003ci>Kicks\u003c/i>, aggression is a rite of passage.\u003c/p>\n\u003cp>\u003ci>Kicks\u003c/i> is the third in a recent spate of debut features set in Oakland and Richmond neighborhoods. Like Ryan Coogler (\u003ci>Fruitvale Station\u003c/i>) and Jason Zeldes (\u003ci>Romeo is Bleeding\u003c/i>), Tipping demonstrates a precise sense of place, as well as a personal intimacy with the people of the East Bay. All three of these films are energized by the \u003ca href=\"http://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener\">Black Lives Matter\u003c/a> movement, which offers a shorthand to group them together. But it is in response to themes of violence that the films differ greatly, both in terms of narrative style and the disparate emotional responses each story evokes.\u003c/p>\n\u003cp>\u003ci>Kicks\u003c/i> draws from Tipping’s own experience growing up on the El Cerrito/Richmond border. Like its predecessors, \u003cem>Kicks\u003c/em> captures the look and feel of specific East Bay neighborhoods by examining their geographical and emotional microclimates. “Where I grew up, it was two blocks that way, we cannot go. And two blocks that way was a whole other world,” Tipping says. “The one intersection you had was public school. There you met so many people from all walks of life.”\u003c/p>\n\u003cfigure id=\"attachment_12030739\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/kicks-L9999577_R_rgb.jpg\" alt=\"Jahking Guillory, Christopher Meyer and Christopher Jordan Wallace star in 'Kicks.'\" width=\"720\" height=\"484\" class=\"size-full wp-image-12030739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9999577_R_rgb.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9999577_R_rgb-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jahking Guillory, Christopher Meyer and Christopher Jordan Wallace star in ‘Kicks.’ \u003ccite>(Courtesy of Focus World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brandon is shorter than other kids his age, and there are many predators. Tipping too was once easy prey. Of the event that inspired \u003ci>Kicks\u003c/i>, he says, “It was the first time I had saved up and bought my first pair of Nikes. They were all white, coke white, as they say. You have to keep them clean. That’s what singled me out. There was about ten kids that piled out of two cars. First thing I heard was, ‘He’s got the Prestos.’ I got stomped out and beat down.” And so does Brandon.\u003c/p>\n\u003cp>Unlike Brandon, Tipping didn’t seek revenge. The film, however, depicts a punishing sense of physical violence. When an uncle offers him a gun, Brandon momentarily pauses then reaches for it. \u003cem>Kicks\u003c/em> sidesteps nuance in favor of action. Brandon’s frustrations overrule his common sense, and chaos ensues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2013’s \u003cem>Fruitvale Station\u003c/em>, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/24/oakland-born-director-of-fruitvale-station-makes-creed-personal/\" target=\"_blank\" rel=\"noopener\">Ryan Coogler\u003c/a> chronicles the last days of Oscar Grant’s life before he was shot and killed by BART police officer Johannes Mehserle. Coogler’s script humanizes Grant, giving him flaws and strengths. The film also nags at your conscience: What if he’d kept his job, stayed in the East Bay, or taken a different train? It doesn’t absolve Mehserle of fatally shooting Grant in the early hours of New Year’s Day in 2009, but Coogler leads us to believe that opportunity is fate: if given the chance, or even a second chance, we can have healthy, productive lives.\u003c/p>\n\u003cfigure id=\"attachment_12030738\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/kicks-L9995386_R_rgb.jpg\" alt=\"Jahking Guillory stars at Brandon in 'Kicks.'\" width=\"720\" height=\"484\" class=\"size-full wp-image-12030738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9995386_R_rgb.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/kicks-L9995386_R_rgb-400x269.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Jahking Guillory stars at Brandon in ‘Kicks.’ \u003ccite>(Courtesy of Focus World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Jason Zeldes’ 2015 documentary \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2015/04/28/romeo-is-bleeding-director-jason-zeldes-and-richmonds-raw-talent/\" target=\"_blank\" rel=\"noopener\">Romeo Is Bleeding\u003c/a>,\u003c/em> the director tells the story of Donté Clark, a poet and playwright based in Richmond. Clark lives in the middle of a turf war. His art is thriving because of an educational opportunity, but he’s also struggling to remain hopeful about the violence in his community. One of the promotional images for the film shows Clark posed in front of a BART map. The photograph draws an immediate and provocative parallel to Grant’s fate. While school may be a safe space, getting there and back is not.\u003c/p>\n\u003cp>Of these three films, \u003cem>Kicks\u003c/em> intends to reach an adolescent audience. From the settings (high school, playgrounds, urban streets) to the language and music, to the lack of any lingering adult presence, the filmmaker works hard to create a brutal yet relatable world for Brandon to be adrift and alienated in. But the more complex task of engendering talks about cycles of violence after the credits close seems unlikely.\u003c/p>\n\u003cp>Tipping remembers coming home to his brothers after his Nikes were stolen. “They were trying to console me and make me feel better,” he says. “They looked me in the eye and were like, ‘It’s okay. You’re a man now.’ It was that moment, specifically, that made me want to tell this story. At that moment I was proud, but at the same time, deeply saddened. In retrospect, it made me question why is violence synonymous with masculinity.”\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/wWV2hK4HVEk'\n title='//www.youtube.com/embed/wWV2hK4HVEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Similarly, Brandon’s two best friends keep picking him up after he’s beaten down. He may be bloodied but they laugh it off. It’s how they cope. And maybe kids in the audience who know this world will be laughing too.\u003c/p>\n\u003cp>But it isn’t funny. In real life, the weight of some imminent threat, of living an unprotected life, is terrifying. The director claims that in depicting the use of guns he wants the audience to “have a discussion of ending the cycle of violence. Gun violence is this other epidemic.”\u003c/p>\n\u003cp>If Tipping wanted the audience to engage intellectually with Brandon’s dilemma, did he think of giving him another option to pursue, one without guns? “No,” Tipping says. “That would be a boring story.” Both Coogler and Zeldes might disagree.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Kicks\u003c/b> opens at the Grand Lake Theater in Oakland, Friday, Sept. 9. For tickets and more information visit \u003ca href=\"http://www.renaissancerialto.com/\" target=\"_blank\" rel=\"noopener\">renaissancecerialto.com\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Despite widespread attention over diversity in the movie business, a new study finds that little is changing in Hollywood for women, minorities, LGBT people and others who continue to find themselves on the outside of an industry where researchers say inequality is “the norm.”\u003c/p>\n\u003cp>A report to be released Wednesday by the Media, Diversity and Social Change Initiative at the University of Southern California’s Annenberg School for Communication and Journalism offers a stark portrait of Hollywood’s feeble to nonexistent progress in eradicating what researchers call “pervasive and systematic” problems in inclusiveness in front of and behind the camera.\u003c/p>\n\u003cp>Since 2007, USC has analyzed the demographic makeup of the actors, directors, writers and more from each year’s 100 most popular films. Its latest addition adds data from 2015’s top films, but finds little change.\u003c/p>\n\u003cp>For example, 31.4 percent of speaking characters in the analyzed films were female in 2015 — roughly the same number as in 2007. That’s a ratio of 2.2 men for every single woman.\u003c/p>\n\u003cp>Characters identified as lesbian, gay or transgender accounted for less than 1 percent of all speaking parts, or 32 out of 4,370 characters studied. That was a slight increase from 19 portrayals in 2014. After finding zero transgender characters in 2014, researchers could pinpoint one in 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From 2007 to 2015, the study finds no significant change in the percentage of black (12.2 percent), Latino (5.3 percent) or Asian (3.9 percent) characters in the most popular films.\u003c/p>\n\u003cp>Off screen, of the 107 directors of 2015 films, four were black or African American and six were Asian or Asian American. Just eight were women, still the most since 2008.\u003c/p>\n\u003cp>“We’re seeing entrenched inequality,” Stacy L. Smith, a USC professor and the study’s lead author, said in an interview. “Whether we’re studying gender, race, ethnicity, LGBT or characters with disabilities, we’re really seeing exclusionary forces leaving out anybody that’s not a straight, white, able-bodied man. Despite all the chatter and all the activism and all the press attention, it’s another year where the status quo has been maintained.”\u003c/p>\n\u003cp>USC researchers stressed that the study’s results didn’t just offer a portrait of inequality, but captured the invisibility of many from American popular cinema. Hollywood, the study concludes, is “an epicenter of cultural inequality.”\u003c/p>\n\u003cp>Issues of exclusion and gender gaps have gained more attention in recent years following two straight seasons of all-white acting nominees at the Oscars and leaked studio emails from Sony Pictures that suggested evidence of disparity in salaries between male and female stars.\u003c/p>\n\u003cp>The fallout has led the Academy of Motion Pictures Arts and Sciences to diversity its membership. Some have individually taken action; TV producer Ryan Murphy in February launched a foundation to diversify the directors of his shows. Last month, even Michelle Obama spoke of the importance “for the world to see different images of each other.”\u003c/p>\n\u003cp>But the USC researchers say not enough is being done by the upper echelons of the movie industry. Earlier this year, the researchers scored 10 major media companies on their diversity record across mediums. None passed.\u003c/p>\n\u003cp>“We’ve seen a lot of talk and little action,” says Smith. “What we need now is for companies to take the same leadership position, be transparent in their inclusion goals and be accountable to representing the actual world we live in when it comes to the demography of the U.S.”\u003c/p>\n\u003cp>Many of last year’s most profitable movies, however, boasted diverse casts. The appeal of the “Fast and Furious” franchise, which released its seventh installment in 2015, has long been based on both high-octane races and a much varied cast. The year’s top film, “Star Wars: The Force Awakens,” ushered in more diverse characters to George Lucas’ galaxy. Female empowerment was also a big seller for “Mad Max: Fury Road,” ”The Hunger Games: Mockingjay Part 2″ and “Pitch Perfect 2.”\u003c/p>\n\u003cp>As a result, female lead or co-leads improved by 11 percent from 2014 to 2015, one of the rare signs of improved inclusivity in the study. But even such bright spots revealed other areas still wanting. There were still just three films featuring a female lead or co-lead from an underrepresented racial or ethnic group, and there wasn’t one leading part for an Asian, man or woman.\u003c/p>\n\u003cp>“When we really drill down in the numbers, we see a perpetuation of the same groups getting access to the most visible roles, whether that’s in the director’s chair or on screen, and that continues to be the problem plaguing Hollywood’s hiring practices,” said Smith.\u003c/p>\n\u003cp>Issues over the type of representation also still remain. Though LGBT characters increased in 2015, only two were depicted as parents. “Film still has a way to go when it comes to representing all types of families in America,” said Katherine Pieper, who co-authored the study with Smith and Marc Choueiti.\u003c/p>\n\u003cp>Females also continue to be overwhelmingly more likely to be sexualized. Women are more than three times as likely as men to be shown in sexually revealing clothing or nude.\u003c/p>\n\u003cp>“When there are few women — less than 32 percent of characters are female — and they are more sexualized than their male counterparts, then females are really filling a particular role in film content and sending a particular message to audiences,” said Pieper.\u003c/p>\n\u003cp>The researchers added two new metrics to the study this year. They are now tracking characters with disabilities. They made up just 2.4 percent of all speaking roles in 2015’s top films, even though 18.7 percent of the U.S. population reported having a disability in the 2010 census.\u003c/p>\n\u003cp>To dovetail with an upcoming initiative on women in music, USC researchers also began studying the rate of female composers in film. They found 12 total in the 877 films studied over eight years, and only one in 2015.\u003c/p>\n\u003cp>“When a group clocks in at 1.4 percent,” says Smith, “I think it merits more investigation.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Despite widespread attention over diversity in the movie business, a new study finds that little is changing in Hollywood for women, minorities, LGBT people and others who continue to find themselves on the outside of an industry where researchers say inequality is “the norm.”\u003c/p>\n\u003cp>A report to be released Wednesday by the Media, Diversity and Social Change Initiative at the University of Southern California’s Annenberg School for Communication and Journalism offers a stark portrait of Hollywood’s feeble to nonexistent progress in eradicating what researchers call “pervasive and systematic” problems in inclusiveness in front of and behind the camera.\u003c/p>\n\u003cp>Since 2007, USC has analyzed the demographic makeup of the actors, directors, writers and more from each year’s 100 most popular films. Its latest addition adds data from 2015’s top films, but finds little change.\u003c/p>\n\u003cp>For example, 31.4 percent of speaking characters in the analyzed films were female in 2015 — roughly the same number as in 2007. That’s a ratio of 2.2 men for every single woman.\u003c/p>\n\u003cp>Characters identified as lesbian, gay or transgender accounted for less than 1 percent of all speaking parts, or 32 out of 4,370 characters studied. That was a slight increase from 19 portrayals in 2014. After finding zero transgender characters in 2014, researchers could pinpoint one in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From 2007 to 2015, the study finds no significant change in the percentage of black (12.2 percent), Latino (5.3 percent) or Asian (3.9 percent) characters in the most popular films.\u003c/p>\n\u003cp>Off screen, of the 107 directors of 2015 films, four were black or African American and six were Asian or Asian American. Just eight were women, still the most since 2008.\u003c/p>\n\u003cp>“We’re seeing entrenched inequality,” Stacy L. Smith, a USC professor and the study’s lead author, said in an interview. “Whether we’re studying gender, race, ethnicity, LGBT or characters with disabilities, we’re really seeing exclusionary forces leaving out anybody that’s not a straight, white, able-bodied man. Despite all the chatter and all the activism and all the press attention, it’s another year where the status quo has been maintained.”\u003c/p>\n\u003cp>USC researchers stressed that the study’s results didn’t just offer a portrait of inequality, but captured the invisibility of many from American popular cinema. Hollywood, the study concludes, is “an epicenter of cultural inequality.”\u003c/p>\n\u003cp>Issues of exclusion and gender gaps have gained more attention in recent years following two straight seasons of all-white acting nominees at the Oscars and leaked studio emails from Sony Pictures that suggested evidence of disparity in salaries between male and female stars.\u003c/p>\n\u003cp>The fallout has led the Academy of Motion Pictures Arts and Sciences to diversity its membership. Some have individually taken action; TV producer Ryan Murphy in February launched a foundation to diversify the directors of his shows. Last month, even Michelle Obama spoke of the importance “for the world to see different images of each other.”\u003c/p>\n\u003cp>But the USC researchers say not enough is being done by the upper echelons of the movie industry. Earlier this year, the researchers scored 10 major media companies on their diversity record across mediums. None passed.\u003c/p>\n\u003cp>“We’ve seen a lot of talk and little action,” says Smith. “What we need now is for companies to take the same leadership position, be transparent in their inclusion goals and be accountable to representing the actual world we live in when it comes to the demography of the U.S.”\u003c/p>\n\u003cp>Many of last year’s most profitable movies, however, boasted diverse casts. The appeal of the “Fast and Furious” franchise, which released its seventh installment in 2015, has long been based on both high-octane races and a much varied cast. The year’s top film, “Star Wars: The Force Awakens,” ushered in more diverse characters to George Lucas’ galaxy. Female empowerment was also a big seller for “Mad Max: Fury Road,” ”The Hunger Games: Mockingjay Part 2″ and “Pitch Perfect 2.”\u003c/p>\n\u003cp>As a result, female lead or co-leads improved by 11 percent from 2014 to 2015, one of the rare signs of improved inclusivity in the study. But even such bright spots revealed other areas still wanting. There were still just three films featuring a female lead or co-lead from an underrepresented racial or ethnic group, and there wasn’t one leading part for an Asian, man or woman.\u003c/p>\n\u003cp>“When we really drill down in the numbers, we see a perpetuation of the same groups getting access to the most visible roles, whether that’s in the director’s chair or on screen, and that continues to be the problem plaguing Hollywood’s hiring practices,” said Smith.\u003c/p>\n\u003cp>Issues over the type of representation also still remain. Though LGBT characters increased in 2015, only two were depicted as parents. “Film still has a way to go when it comes to representing all types of families in America,” said Katherine Pieper, who co-authored the study with Smith and Marc Choueiti.\u003c/p>\n\u003cp>Females also continue to be overwhelmingly more likely to be sexualized. Women are more than three times as likely as men to be shown in sexually revealing clothing or nude.\u003c/p>\n\u003cp>“When there are few women — less than 32 percent of characters are female — and they are more sexualized than their male counterparts, then females are really filling a particular role in film content and sending a particular message to audiences,” said Pieper.\u003c/p>\n\u003cp>The researchers added two new metrics to the study this year. They are now tracking characters with disabilities. They made up just 2.4 percent of all speaking roles in 2015’s top films, even though 18.7 percent of the U.S. population reported having a disability in the 2010 census.\u003c/p>\n\u003cp>To dovetail with an upcoming initiative on women in music, USC researchers also began studying the rate of female composers in film. They found 12 total in the 877 films studied over eight years, and only one in 2015.\u003c/p>\n\u003cp>“When a group clocks in at 1.4 percent,” says Smith, “I think it merits more investigation.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prosecutors hoping to paint actor Bill Cosby as a serial predator at his upcoming sexual assault trial sought Tuesday to put on testimony from 13 other women who say Cosby gave them quaaludes, other drugs or alcohol before molesting them.\u003c/p>\n\u003cp>The criminal case against the 79-year-old entertainer involves a single 2004 encounter at his home near Philadelphia with former Temple University employee Andrea Constand. The presiding judge at a hearing Tuesday vowed to start the trial by June 5.\u003c/p>\n\u003cp>However, Montgomery County Judge Steven O’Neill did not immediately rule on any of the pretrial disputes over evidence, including the prosecution effort to call other women as witnesses. Under Pennsylvania law, they could be allowed to testify to show an alleged pattern of behavior, even if no charges were ever filed.\u003c/p>\n\u003cp>Prosecutors said they reviewed accusations made by 50 Cosby accusers and concluded that 13 said they were also drugged or intoxicated and then molested by Cosby. One woman said she declined his offer of quaaludes but accepted Champagne that she believed was spiked. She later woke up naked in a hotel room and said she had been sexually assaulted. Another said she took quaaludes from him, while a third said she believed her drink was spiked with the powerful, now-banned sedative.\u003c/p>\n\u003cp>The defense is expected to oppose any testimony from other accusers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The defense will also ask to have the trial moved to another county, given that the decision over whether Cosby should be arrested became a flashpoint in last fall’s election for district attorney. Cosby was arrested on Dec. 30, as incoming prosecutor Kevin Steele eyed the approaching 12-year deadline to file felony charges.\u003c/p>\n\u003cp>Constand told police that Cosby gave her three unmarked pills and then molested her as she drifted in and out of consciousness.\u003c/p>\n\u003cp>Cosby’s lawyers meanwhile asked the judge Tuesday to suppress a 2005 telephone conversation recorded by Constand’s mother in Toronto. Cosby had called her from California. The defense said the call violated Pennsylvania’s two-party consent law on wiretaps. But prosecutors who played the tape in court argued that Cosby said he heard beeps on the call and asked if he was being taped. Gianna Constand denied it.\u003c/p>\n\u003cp>Cosby in the conversation described the sex act as “digital penetration” but refused to say what pills he had given her daughter. In his deposition, he later said he feared sounding like “a dirty old man” on the call.\u003c/p>\n\u003cp>Steele will fight to use both the phone call and Cosby’s potentially damaging deposition from Constand’s sexual battery lawsuit. Cosby settled the suit after four days of questioning. He acknowledged having a sexual encounter with Constand, but said it was consensual. He also admitted to a string of extramarital affairs and sexual “rendezvous,” some with women in their late teens and early 20s.\u003c/p>\n\u003cp>Cosby was arrested in December after the investigation into the allegation Constand first brought in 2005 was reopened, following disclosure of the entertainer’s deposition and a stream of new allegations by women going back decades.\u003c/p>\n\u003cp>Cosby looked noticeably healthier Tuesday than he has at earlier hearings, although his lawyers told the judge that he is blind. O’Neill offered whatever accommodations he might need at trial, but the defense didn’t immediately ask for any.\u003c/p>\n\u003cp>Cosby clutched an aide’s arm as he walked, but his eyes appeared less milky and he seemed more engaged and animated as he spoke with his legal team.\u003c/p>\n\u003cp>As O’Neill pushed for a trial date, lead defense lawyer Brian McMonagle of Philadelphia said he has other trials booked until June.\u003c/p>\n\u003cp>Cosby has replaced one top-tier Los Angeles law firm with another on his defense team, the second such switch in about a year.\u003c/p>\n\u003cp>Cosby has so far lost his efforts to have the charges thrown out.\u003c/p>\n\u003cp>Cosby became known as “America’s Dad” for his top-rated show on family life that ran from 1984 to 1992. He had been in the limelight since the early 1960s, when the Philadelphian was tapped to star in “I Spy,” becoming the rare black actor to star in a network TV show at the time.\u003c/p>\n\u003cp>The women who accuse him of sexual misconduct for nearly that long say the charges were a long time coming.\u003c/p>\n\u003cp>Cosby’s defenders instead suggest he is a wealthy target for the many women he met during five decades as an A-list celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prosecutors hoping to paint actor Bill Cosby as a serial predator at his upcoming sexual assault trial sought Tuesday to put on testimony from 13 other women who say Cosby gave them quaaludes, other drugs or alcohol before molesting them.\u003c/p>\n\u003cp>The criminal case against the 79-year-old entertainer involves a single 2004 encounter at his home near Philadelphia with former Temple University employee Andrea Constand. The presiding judge at a hearing Tuesday vowed to start the trial by June 5.\u003c/p>\n\u003cp>However, Montgomery County Judge Steven O’Neill did not immediately rule on any of the pretrial disputes over evidence, including the prosecution effort to call other women as witnesses. Under Pennsylvania law, they could be allowed to testify to show an alleged pattern of behavior, even if no charges were ever filed.\u003c/p>\n\u003cp>Prosecutors said they reviewed accusations made by 50 Cosby accusers and concluded that 13 said they were also drugged or intoxicated and then molested by Cosby. One woman said she declined his offer of quaaludes but accepted Champagne that she believed was spiked. She later woke up naked in a hotel room and said she had been sexually assaulted. Another said she took quaaludes from him, while a third said she believed her drink was spiked with the powerful, now-banned sedative.\u003c/p>\n\u003cp>The defense is expected to oppose any testimony from other accusers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The defense will also ask to have the trial moved to another county, given that the decision over whether Cosby should be arrested became a flashpoint in last fall’s election for district attorney. Cosby was arrested on Dec. 30, as incoming prosecutor Kevin Steele eyed the approaching 12-year deadline to file felony charges.\u003c/p>\n\u003cp>Constand told police that Cosby gave her three unmarked pills and then molested her as she drifted in and out of consciousness.\u003c/p>\n\u003cp>Cosby’s lawyers meanwhile asked the judge Tuesday to suppress a 2005 telephone conversation recorded by Constand’s mother in Toronto. Cosby had called her from California. The defense said the call violated Pennsylvania’s two-party consent law on wiretaps. But prosecutors who played the tape in court argued that Cosby said he heard beeps on the call and asked if he was being taped. Gianna Constand denied it.\u003c/p>\n\u003cp>Cosby in the conversation described the sex act as “digital penetration” but refused to say what pills he had given her daughter. In his deposition, he later said he feared sounding like “a dirty old man” on the call.\u003c/p>\n\u003cp>Steele will fight to use both the phone call and Cosby’s potentially damaging deposition from Constand’s sexual battery lawsuit. Cosby settled the suit after four days of questioning. He acknowledged having a sexual encounter with Constand, but said it was consensual. He also admitted to a string of extramarital affairs and sexual “rendezvous,” some with women in their late teens and early 20s.\u003c/p>\n\u003cp>Cosby was arrested in December after the investigation into the allegation Constand first brought in 2005 was reopened, following disclosure of the entertainer’s deposition and a stream of new allegations by women going back decades.\u003c/p>\n\u003cp>Cosby looked noticeably healthier Tuesday than he has at earlier hearings, although his lawyers told the judge that he is blind. O’Neill offered whatever accommodations he might need at trial, but the defense didn’t immediately ask for any.\u003c/p>\n\u003cp>Cosby clutched an aide’s arm as he walked, but his eyes appeared less milky and he seemed more engaged and animated as he spoke with his legal team.\u003c/p>\n\u003cp>As O’Neill pushed for a trial date, lead defense lawyer Brian McMonagle of Philadelphia said he has other trials booked until June.\u003c/p>\n\u003cp>Cosby has replaced one top-tier Los Angeles law firm with another on his defense team, the second such switch in about a year.\u003c/p>\n\u003cp>Cosby has so far lost his efforts to have the charges thrown out.\u003c/p>\n\u003cp>Cosby became known as “America’s Dad” for his top-rated show on family life that ran from 1984 to 1992. He had been in the limelight since the early 1960s, when the Philadelphian was tapped to star in “I Spy,” becoming the rare black actor to star in a network TV show at the time.\u003c/p>\n\u003cp>The women who accuse him of sexual misconduct for nearly that long say the charges were a long time coming.\u003c/p>\n\u003cp>Cosby’s defenders instead suggest he is a wealthy target for the many women he met during five decades as an A-list celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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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\u003ch3>\u003ci>Blazing Saddles\u003c/i>\u003c/h3>\n\u003ch5>Legion of Honor, San Francisco\u003cbr>\nSaturday, Sept. 10, 1:30-4:30pm\u003cbr>\nFREE\u003c/h5>\n\u003cp>On very short notice, in the wake of Gene Wilder’s death on Aug. 29, several theaters around the country arranged screenings of the beloved actor’s most memorable films. In case you missed that fleeting tribute, the \u003ca href=\"https://legionofhonor.famsf.org/calendar/wild-west-double-feature-1\" target=\"_blank\" rel=\"noopener\">Legion of Honor\u003c/a> wraps its six-week-series of Westerns — programmed in conjunction with the \u003ci>\u003ca href=\"http://legionofhonor.famsf.org/exhibitions/wild-west\" target=\"_blank\" rel=\"noopener\">Wild West: Plains to the Pacific\u003c/a>\u003c/i> exhibition (closing Sept. 10) — with the giddily irreverent and groundbreaking \u003cem>Blazing Saddles\u003c/em> (1974). \u003c/p>\n\u003cp>https://youtu.be/VKayG1TrfuE\u003c/p>\n\u003cp>Mel Brooks’ still-hilarious parody of the genre’s self-serious moralizing and weak-coffee clichés is filled with great characterizations, including Wilder’s turn as a crack shot with a weakness for alcohol. (Shades of Dean Martin’s Dude in \u003cem>Rio Bravo\u003c/em>.) If you take your Westerns straight, \u003cem>High Noon\u003c/em> is also on the bill.\u003c/p>\n\u003cfigure id=\"attachment_12010687\" 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/helmutbergeractor_film3-Andreas-Horvath-2015-90-min-digital-Courtesy-Andreas-Horvath1200.jpg\" alt=\"Director Andreas Horvath's 'Helmut Berger, Actor,' 2015.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-12010687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/helmutbergeractor_film3-Andreas-Horvath-2015-90-min-digital-Courtesy-Andreas-Horvath1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/helmutbergeractor_film3-Andreas-Horvath-2015-90-min-digital-Courtesy-Andreas-Horvath1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/helmutbergeractor_film3-Andreas-Horvath-2015-90-min-digital-Courtesy-Andreas-Horvath1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/helmutbergeractor_film3-Andreas-Horvath-2015-90-min-digital-Courtesy-Andreas-Horvath1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/helmutbergeractor_film3-Andreas-Horvath-2015-90-min-digital-Courtesy-Andreas-Horvath1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/helmutbergeractor_film3-Andreas-Horvath-2015-90-min-digital-Courtesy-Andreas-Horvath1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Director Andreas Horvath’s ‘Helmut Berger, Actor,’ 2015. \u003ccite>(Courtesy of Andreas Horvath)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>Not all actors are pussycats, don’t you know. The handsome Austrian hunk Helmut Berger was a striking, forceful presence on screen in the ’70s, but rather tempestuous, shall we say, in television interviews and his personal life. Linked forever with the great Luchino Visconti, his partner for many years and his director for \u003cem>The Damned\u003c/em> (1969) and \u003cem>Ludwig\u003c/em> (1973), Berger had the knack (and curse) of getting crazy-deep into his characters. Documentary filmmaker Andreas Horvath’s 2015 portrait, \u003cem>Helmut Berger, Actor\u003c/em>, playing Sept. 8-11 at \u003ca href=\"https://www.ybca.org/whats-on/helmut-berger-actor\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center For the Arts\u003c/a>, brings us uncomfortably, dangerously close to its subject.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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