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"content": "\u003cp>Before all your coworkers were exclaiming, \"Have you seen \u003cem>Stranger Things\u003c/em>? OMG, you have to watch it!\", chances are they were saying the same thing about \u003cem>UnREAL\u003c/em>, a Lifetime drama (hey, don't judge!) that takes viewers behind the scenes of a \u003cem>Bachelor\u003c/em>-esque dating show called \u003cem>Everlasting\u003c/em>.\u003c/p>\n\u003cp>The similarities to the uber popular franchise aren't accidental; co-creator Sarah Gertrude Shapiro worked as a producer on \u003cem>The Bachelor\u003c/em> for several years. Shapiro says that her job was essentially to get contestants to \"open up, and to give them terrible advice, and to deprive them of sleep.\" The day-in-day-out manipulation eventually took a toll. Shapiro begged to be let out of her contract or else: \"I'll kill myself if I stay.\"\u003c/p>\n\u003cp>Thankfully, it didn't come to that. Shapiro was let go and immediately moved to Portland for a quieter life. But she couldn't stay away from the entertainment biz for long. After a few years in advertising, she created a short film called \u003cem>Sequin Raze\u003c/em>, which chronicles a producer as she tries to \"crack\" a dating show contestant and make her cry.\u003c/p>\n\u003cp>It wasn't long before Shapiro was in front of a Lifetime executive with this pitch to turn the short into a series: “A feminist working on \u003cem>The Bachelor\u003c/em> has a nervous breakdown.” The network loved the idea. Two seasons, a Critics’ Choice Award and a Peabody Award later, everyone else does too. And it all started from this one short, which you can watch in full, thanks to our colleagues \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/\">Film School Shorts\u003c/a>!\u003c/p>\n\u003cp>https://vimeo.com/169275162\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If you haven't watched all 20 episodes of \u003cem>UnREAL\u003c/em> yet, go do that now! If you've been there, done that, watch this other short that was adapted into my favorite feminist vampire movie of all time!\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2015/04/01/obsessed-with-ana-lily-amirpours-a-girl-walks-home-alone-at-night-watch-this-short-film-she-wrote/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Film School Shorts airs on KQED 9 every Friday, beginning September 9 at 8:30PM with an encore broadcast Sundays at 11:30PM.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>\u003ci>Leave the computer screen behind and venture into Bay Area theaters this week with silver screen recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"http://www.roxie.com/ai1ec_event/wes-ander-thon-weekend/?instance_id=14020\" target=\"_blank\" rel=\"noopener\">Wes Ander-Thon Weekend\u003c/a>\u003c/h3>\n\u003ch5>Roxie Theater, San Francisco\u003cbr>\nAug. 12 – 14, Tickets: $14\u003c/h5>\n\u003cp>In 1996, writer-director \u003ca href=\"http://www.roxie.com/ai1ec_event/wes-ander-thon-weekend/?instance_id=14020\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> released his feature debut, \u003cem>Bottle Rocket\u003c/em>. A perfectly OK little movie, it opened the door for two full decades of self-consciously theatrical dioramas of unhappy children, depressed 20-somethings and miserable adults. Anderson epitomizes one of the worst trends in American movies, namely a self-indulgent fixation with the deep and lasting psychological trauma of growing up in the suburbs. \u003c/p>\n\u003cfigure id=\"attachment_11911629\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Rushmore-2.jpg\" alt=\"Still from 'Rushmore.'\" width=\"1024\" height=\"434\" class=\"size-full wp-image-11911629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-960x407.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Rushmore.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He may yet outgrow his obsession — he’s 47, believe it or not — although his last picture, \u003cem>The Grand Budapest Hotel\u003c/em>, reflected his reading list more than any life experience. To commemorate Anderson’s midcareer milestone, Jesse Hawthorne Ficks’ \u003ca href=\"https://www.facebook.com/midnitesformaniacs/\" target=\"_blank\" rel=\"noopener\">Midnites for Maniacs\u003c/a>, \u003ca href=\"http://spoke-art.com/\" target=\"_blank\" rel=\"noopener\">Spoke Art\u003c/a> and the Roxie team up to serve up his entire oeuvre this Friday through Sunday, Aug. 12-14. \u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"Still from 'The Royal Tenenbaums.'\" width=\"840\" height=\"356\" class=\"size-full wp-image-11911630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Royal Tenenbaums.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why am I touting a Wes Anderson marathon, you ask, if I dislike his work so intensely? As a public service, since he does have his fans. And, to be completely candid, in the slim hope that other good people, whilst wading through the cotton candy of his eight features (including the oppressively vapid \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Darjeeling Limited\u003c/em>) and two shorts, will recognize the limited scope of Anderson’s imagination and the banality of his worldview. \u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>If you’re on the prowl for genuinely amusing pratfalls and functional-family entertainment, you can’t top the UCLA Film and Television Archive’s new restorations of \u003ca href=\"http://rafaelfilm.cafilm.org/laurel-and-hardy/\" target=\"_blank\" rel=\"noopener\">Stan Laurel and Oliver Hardy\u003c/a>’s wonderful slapstick comedies of the 1930s. The Smith Rafael Film Center screens the duo’s short films every Sunday from Aug. 14 through 28, then wraps the series Sept. 4 with a double bill of their features \u003cem>Way Out West\u003c/em> and \u003cem>The Flying Deuces\u003c/em>. If you live in San Francisco or one of its southern neighbors, and somehow need further incentive to trek with the kids to San Rafael, I highly recommend a visit to \u003ca href=\"https://www.nps.gov/goga/pobo.htm\" target=\"_blank\" rel=\"noopener\">Point Bonita Lighthouse\u003c/a> in the Golden Gate National Recreation Area (just across the bridge).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/Wh5wzsy2q38\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Leave the computer screen behind and venture into Bay Area theaters this week with silver screen recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"http://www.roxie.com/ai1ec_event/wes-ander-thon-weekend/?instance_id=14020\" target=\"_blank\" rel=\"noopener\">Wes Ander-Thon Weekend\u003c/a>\u003c/h3>\n\u003ch5>Roxie Theater, San Francisco\u003cbr>\nAug. 12 – 14, Tickets: $14\u003c/h5>\n\u003cp>In 1996, writer-director \u003ca href=\"http://www.roxie.com/ai1ec_event/wes-ander-thon-weekend/?instance_id=14020\" target=\"_blank\" rel=\"noopener\">Wes Anderson\u003c/a> released his feature debut, \u003cem>Bottle Rocket\u003c/em>. A perfectly OK little movie, it opened the door for two full decades of self-consciously theatrical dioramas of unhappy children, depressed 20-somethings and miserable adults. Anderson epitomizes one of the worst trends in American movies, namely a self-indulgent fixation with the deep and lasting psychological trauma of growing up in the suburbs. \u003c/p>\n\u003cfigure id=\"attachment_11911629\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Rushmore-2.jpg\" alt=\"Still from 'Rushmore.'\" width=\"1024\" height=\"434\" class=\"size-full wp-image-11911629\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-768x326.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Rushmore-2-960x407.jpg 960w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Rushmore.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He may yet outgrow his obsession — he’s 47, believe it or not — although his last picture, \u003cem>The Grand Budapest Hotel\u003c/em>, reflected his reading list more than any life experience. To commemorate Anderson’s midcareer milestone, Jesse Hawthorne Ficks’ \u003ca href=\"https://www.facebook.com/midnitesformaniacs/\" target=\"_blank\" rel=\"noopener\">Midnites for Maniacs\u003c/a>, \u003ca href=\"http://spoke-art.com/\" target=\"_blank\" rel=\"noopener\">Spoke Art\u003c/a> and the Roxie team up to serve up his entire oeuvre this Friday through Sunday, Aug. 12-14. \u003c/p>\n\u003cfigure id=\"attachment_11911630\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg\" alt=\"Still from 'The Royal Tenenbaums.'\" width=\"840\" height=\"356\" class=\"size-full wp-image-11911630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums.jpg 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-800x339.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Royal-Tenenbaums-768x325.jpg 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Royal Tenenbaums.’ \u003ccite>(Courtesy of the Roxie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why am I touting a Wes Anderson marathon, you ask, if I dislike his work so intensely? As a public service, since he does have his fans. And, to be completely candid, in the slim hope that other good people, whilst wading through the cotton candy of his eight features (including the oppressively vapid \u003cem>The Royal Tenenbaums\u003c/em> and \u003cem>The Darjeeling Limited\u003c/em>) and two shorts, will recognize the limited scope of Anderson’s imagination and the banality of his worldview. \u003c/p>\n\u003ch3>Also…\u003c/h3>\n\u003cp>If you’re on the prowl for genuinely amusing pratfalls and functional-family entertainment, you can’t top the UCLA Film and Television Archive’s new restorations of \u003ca href=\"http://rafaelfilm.cafilm.org/laurel-and-hardy/\" target=\"_blank\" rel=\"noopener\">Stan Laurel and Oliver Hardy\u003c/a>’s wonderful slapstick comedies of the 1930s. 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"content": "\u003cp>David Huddleston, the character actor best known for portraying titular roles in \u003cem>The Big Lebowski\u003c/em> and \u003cem>Santa Claus: The Movie\u003c/em>, has died. He was 85.\u003c/p>\n\u003cp>Huddleston’s wife, Sarah C. Koeppe, says he died Tuesday of advanced heart and kidney disease in Santa Fe, New Mexico.\u003c/p>\n\u003cp>Huddleston famously portrayed the blustery millionaire whose identity Jeff Bridges’ character is mistaken for in the 1998 cult comedy \u003cem>The Big Lebowski\u003c/em>. He also personified a jolly St. Nick alongside Dudley Moore in \u003cem>Santa Claus: The Movie\u003c/em> and hilariously played the mayor in \u003cem>Blazing Saddles\u003c/em>.\u003c/p>\n\u003cp>Other credits in Huddleston’s 55-year career include the films \u003cem>Fools’ Parade\u003c/em>, \u003cem>Family Reunion\u003c/em> and \u003cem>Bad Company\u003c/em>, as well as guest appearances on such TV series as \u003cem>Gunsmoke\u003c/em>, \u003cem>The West Wing\u003c/em>, \u003cem>Gilmore Girls\u003c/em> and \u003cem>The Wonder Years\u003c/em>.\u003c/p>\n\u003cp>Huddleston was born in 1930 in Vinton, Virginia. He served as an aircraft engine mechanic in the U.S. Air Force before studying acting in New York. He began his career in the theater, acting in national tours of such shows as \u003cem>Music Man\u003c/em>, \u003cem>Mame\u003c/em> and \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\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>David Huddleston, the character actor best known for portraying titular roles in \u003cem>The Big Lebowski\u003c/em> and \u003cem>Santa Claus: The Movie\u003c/em>, has died. He was 85.\u003c/p>\n\u003cp>Huddleston’s wife, Sarah C. Koeppe, says he died Tuesday of advanced heart and kidney disease in Santa Fe, New Mexico.\u003c/p>\n\u003cp>Huddleston famously portrayed the blustery millionaire whose identity Jeff Bridges’ character is mistaken for in the 1998 cult comedy \u003cem>The Big Lebowski\u003c/em>. He also personified a jolly St. Nick alongside Dudley Moore in \u003cem>Santa Claus: The Movie\u003c/em> and hilariously played the mayor in \u003cem>Blazing Saddles\u003c/em>.\u003c/p>\n\u003cp>Other credits in Huddleston’s 55-year career include the films \u003cem>Fools’ Parade\u003c/em>, \u003cem>Family Reunion\u003c/em> and \u003cem>Bad Company\u003c/em>, as well as guest appearances on such TV series as \u003cem>Gunsmoke\u003c/em>, \u003cem>The West Wing\u003c/em>, \u003cem>Gilmore Girls\u003c/em> and \u003cem>The Wonder Years\u003c/em>.\u003c/p>\n\u003cp>Huddleston was born in 1930 in Vinton, Virginia. He served as an aircraft engine mechanic in the U.S. Air Force before studying acting in New York. He began his career in the theater, acting in national tours of such shows as \u003cem>Music Man\u003c/em>, \u003cem>Mame\u003c/em> and \u003cem>A Funny Thing Happened on the Way to the Forum\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>She’s only eight years old, but Zin-Mi knows a lot about her homeland. It is, she says, “the land of the rising sun” and “the most beautiful country.” Of course, North Korea is the only place Zin-Mi has ever seen, and the only place she’s ever likely to see.\u003c/p>\n\u003cp>Shot during two visits over a year, \u003cem>Under the Sun\u003c/em> chronicles Zin-Mi’s preparations to become a member of the Children’s Union, a group in the tradition of the USSR’s Young Pioneers. The uniformed tykes wear red scarves, and present red flowers to dignitaries weighed down by medals that cover their jackets. The kids also listen to endless lessons, presented by both young schoolteachers and elderly war veterans, about how the Kim dynasty defeated Japanese imperialists and American “cowards.”\u003c/p>\n\u003cp>https://youtu.be/_QRbU6ACIRw\u003c/p>\n\u003cp>At first, Russian director Vitaly Mansky presents Zin-Mi and her equally earnest parents without comment. But then, during a family dinner, the filmmaker offers multiple takes of the scene. He shows the men who interrupt to coach the three players on their performances and tell them just what to say about the virtues of kimchi: It prevents cancer and enhances longevity, the handlers insist, and the girl and her parents dutifully repeat those claims.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> is a documentary about the making of a “documentary” — a government-sanctioned propaganda film in which ordinary North Koreans play fictional roles. Mansky doesn’t explain what he originally agreed to do or exactly how he wound up making something quite different. But he does include an occasional on-screen note about some of the North Korean subterfuge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The parents, for example, are both shown to labor in exemplary factories where, in fact, they don’t work. In reality, Dad is a “print journalist,” which may mean his job is at the same propaganda agency that chaperoned the film.\u003c/p>\n\u003cfigure id=\"attachment_11895914\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg\" alt=\"Still from 'Under the Sun.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11895914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Under the Sun.’ \u003ccite>(Courtesy Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without explanation, North Korean authorities cancelled the project before shooting was complete. So Mansky felt free to use the existing footage for a film about the country’s unbeautifulness. He divulges not only the backstage machinations, but also moments in which Zin-Mi — the exemplary Children’s Union member — is confused, doubtful, or frustrated. Prompted by an off-screen overseer to look more cheerful by thinking of “something good,” the girl falters. “I don’t know what,” she says. The simplest emotional cues are problematic when everything is scripted.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> presents a society in which nothing is natural, and where depictions of Kim Jong-Un and his predecessors are as ubiquitous as images of Jesus in a medieval cathedral.\u003c/p>\n\u003cp>But the movie would have been more interesting if Mansky had included more of \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-under-the-sun-north-korea-doc-20160705-snap-story.html\" target=\"_blank\" rel=\"noopener\">the back story\u003c/a>. The filmmakers were required to submit their memory cards every day, and North Korean censors deleted any scene they didn’t want used. What they didn’t know was that the crew was backing up all the footage on a second set of cards so they could retain the moments the authorities thought were erased.\u003c/p>\n\u003cp>Also missing is the director’s intriguing motivation. At a screening of the film at AFI Docs in Washington, Mansky said he initially thought the project would be “a time machine” to the Soviet Union’s Stalinist era, and thus a means to better understand his country’s history. But he came to believe that North Korea is “much more hard and cruel” than the USSR ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> doesn’t document purges, prisons, and show trials. It displays only the wall that’s been erected to block the view of any such brutalities. But that’s enough.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>She’s only eight years old, but Zin-Mi knows a lot about her homeland. It is, she says, “the land of the rising sun” and “the most beautiful country.” Of course, North Korea is the only place Zin-Mi has ever seen, and the only place she’s ever likely to see.\u003c/p>\n\u003cp>Shot during two visits over a year, \u003cem>Under the Sun\u003c/em> chronicles Zin-Mi’s preparations to become a member of the Children’s Union, a group in the tradition of the USSR’s Young Pioneers. The uniformed tykes wear red scarves, and present red flowers to dignitaries weighed down by medals that cover their jackets. The kids also listen to endless lessons, presented by both young schoolteachers and elderly war veterans, about how the Kim dynasty defeated Japanese imperialists and American “cowards.”\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/_QRbU6ACIRw'\n title='//www.youtube.com/embed/_QRbU6ACIRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At first, Russian director Vitaly Mansky presents Zin-Mi and her equally earnest parents without comment. But then, during a family dinner, the filmmaker offers multiple takes of the scene. He shows the men who interrupt to coach the three players on their performances and tell them just what to say about the virtues of kimchi: It prevents cancer and enhances longevity, the handlers insist, and the girl and her parents dutifully repeat those claims.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> is a documentary about the making of a “documentary” — a government-sanctioned propaganda film in which ordinary North Koreans play fictional roles. Mansky doesn’t explain what he originally agreed to do or exactly how he wound up making something quite different. But he does include an occasional on-screen note about some of the North Korean subterfuge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The parents, for example, are both shown to labor in exemplary factories where, in fact, they don’t work. In reality, Dad is a “print journalist,” which may mean his job is at the same propaganda agency that chaperoned the film.\u003c/p>\n\u003cfigure id=\"attachment_11895914\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg\" alt=\"Still from 'Under the Sun.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-11895914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/UnderTheSunn1200-960x640.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Under the Sun.’ \u003ccite>(Courtesy Icarus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Without explanation, North Korean authorities cancelled the project before shooting was complete. So Mansky felt free to use the existing footage for a film about the country’s unbeautifulness. He divulges not only the backstage machinations, but also moments in which Zin-Mi — the exemplary Children’s Union member — is confused, doubtful, or frustrated. Prompted by an off-screen overseer to look more cheerful by thinking of “something good,” the girl falters. “I don’t know what,” she says. The simplest emotional cues are problematic when everything is scripted.\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> presents a society in which nothing is natural, and where depictions of Kim Jong-Un and his predecessors are as ubiquitous as images of Jesus in a medieval cathedral.\u003c/p>\n\u003cp>But the movie would have been more interesting if Mansky had included more of \u003ca href=\"http://www.latimes.com/entertainment/movies/la-et-mn-under-the-sun-north-korea-doc-20160705-snap-story.html\" target=\"_blank\" rel=\"noopener\">the back story\u003c/a>. The filmmakers were required to submit their memory cards every day, and North Korean censors deleted any scene they didn’t want used. What they didn’t know was that the crew was backing up all the footage on a second set of cards so they could retain the moments the authorities thought were erased.\u003c/p>\n\u003cp>Also missing is the director’s intriguing motivation. At a screening of the film at AFI Docs in Washington, Mansky said he initially thought the project would be “a time machine” to the Soviet Union’s Stalinist era, and thus a means to better understand his country’s history. But he came to believe that North Korea is “much more hard and cruel” than the USSR ever was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Under the Sun\u003c/em> doesn’t document purges, prisons, and show trials. It displays only the wall that’s been erected to block the view of any such brutalities. But that’s enough.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We all have one: a friend who, in addition to being a very well-rounded human who you generally think of as smart and capable, can also happily describe the plot of each film in the \u003cem>Sharknado\u003c/em> franchise while those around her look on in amused horror. Or maybe you \u003cem>are\u003c/em> that friend?\u003c/p>\n\u003cp>No shame if you are -- according to a new study, you're probably the smartest of the bunch. Researchers at the Max Planck Institute for Empirical Aesthetics, which is a real school in Frankfurt and not a discarded jumble of words from a Wes Anderson movie, found that people who like to engage in ironic viewing of films and television shows they fully understand to be \"bad\" are generally people with above-average intelligence. (Cough, KQED Pop's devotion to \u003cem>Crossroads\u003c/em>; \u003ca href=\"http://ww2.kqed.org/pop/2015/11/23/crossroads-a-live-blog-of-britney-spears-one-and-only-movie/\" target=\"_blank\">just gonna leave this here\u003c/a>.)\u003c/p>\n\u003cp>\"To such viewers, trash films appear as an interesting and welcome deviation from the mainstream fare,\" researcher Keyvan Sarkhosh \u003ca href=\"http://www.independent.co.uk/arts-entertainment/films/news/enjoyment-of-trash-films-linked-to-high-intelligence-study-finds-a7171436.html\" target=\"_blank\">told \u003cem>The Independent\u003c/em>\u003c/a>, which noted that the team mainly wound up studying low-budget horror movies. \"We are dealing here with an audience with above-average education, which one could describe as 'cultural omnivores'. Such viewers are interested in a broad spectrum of art and media across the traditional boundaries of high and popular culture.\"\u003c/p>\n\u003cp>See? There is something real that's compelling you to watch \u003cem>Encino Man\u003c/em> at least twice a year -- your giant, above-average brain. Science said so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1xkTN1Z1rTQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>\u003ci>Leave the computer screen behind and venture into Bay Area theaters this week with silver screen recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ci>\u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">I Wake Up Dreaming: The End of Noir!\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Aug. 3 – 31\u003cbr>\nCastro Theatre, San Francisco\u003c/h5>\n\u003cp>The one thing we’ve learned from movie sequels (and rock ‘n’ roll bands) is that no franchise, no career, is ever over. “Reboot” has replaced “retirement” in the dictionary. So I refuse to believe local treasure Elliot Lavine’s declaration that \u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">I Wake Up Dreaming: The End of Noir!\u003c/a> is his last series at the Castro. Arguably the Bay Area’s most beloved repertory programmer, Lavine has devoted the last 25 years to digging through studio vaults in search of forgotten films, undervalued oddities, dubious (and sometimes deservedly so) rarities and prime-quality prints. Nothing turns on Lavine more than turning on new moviegoers to prime and lesser cuts of ‘40s and ‘50s Hollywood despair and depravity. \u003c/p>\n\u003cp>The altogether twisted \u003ci>Nightmare Alley\u003c/i> (1947) kicks off I Wake Up Dreaming on Wednesday, Aug. 1 and stars matinee idol Tyrone Power as the most ambitious and amoral con man this side of — well, let’s leave current events out of it. A revelation when Lavine unearthed and revived it many years ago at the Roxie, it’s now part of the noir canon. Lavine’s last hurrah, if it is that, casts shadows every Wednesday in August. \u003c/p>\n\u003cfigure id=\"attachment_11884916\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc.jpg\" alt=\"Still from 'Titicut Follies.'\" width=\"1200\" height=\"864\" class=\"size-full wp-image-11884916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-960x691.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Titicut Follies.’ \u003ccite>(Courtesy of Zipporah Films, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>Banned from public exhibition for more than two decades, Frederick Wiseman’s verité horror show \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/frederick-wiseman\" target=\"_blank\" rel=\"noopener\">Titicut Follies\u003c/a>\u003c/em> was first presented in the Bay Area by the S.F. Cinematheque in the late ‘80s. A record of the callous and cruel everyday treatment of inmates of the State Prison for the Criminally Insane in Bridgewater, Mass., it provoked a public outcry and major institutional changes upon its release in 1967. It would be nice to say that \u003cem>Titicut Follies\u003c/em> (Thursday at 7:30pm and Sunday at 2pm at Yerba Buena Center For the Arts) plays today like a historical artifact of a bygone era rather than a contemporary social-issue exposé. Indeed, it would. The documentary marked Wiseman’s filmmaking debut, and set him on an astonishing career that’s approaching the half-century mark.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Leave the computer screen behind and venture into Bay Area theaters this week with silver screen recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ci>\u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">I Wake Up Dreaming: The End of Noir!\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Aug. 3 – 31\u003cbr>\nCastro Theatre, San Francisco\u003c/h5>\n\u003cp>The one thing we’ve learned from movie sequels (and rock ‘n’ roll bands) is that no franchise, no career, is ever over. “Reboot” has replaced “retirement” in the dictionary. So I refuse to believe local treasure Elliot Lavine’s declaration that \u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">I Wake Up Dreaming: The End of Noir!\u003c/a> is his last series at the Castro. Arguably the Bay Area’s most beloved repertory programmer, Lavine has devoted the last 25 years to digging through studio vaults in search of forgotten films, undervalued oddities, dubious (and sometimes deservedly so) rarities and prime-quality prints. Nothing turns on Lavine more than turning on new moviegoers to prime and lesser cuts of ‘40s and ‘50s Hollywood despair and depravity. \u003c/p>\n\u003cp>The altogether twisted \u003ci>Nightmare Alley\u003c/i> (1947) kicks off I Wake Up Dreaming on Wednesday, Aug. 1 and stars matinee idol Tyrone Power as the most ambitious and amoral con man this side of — well, let’s leave current events out of it. A revelation when Lavine unearthed and revived it many years ago at the Roxie, it’s now part of the noir canon. Lavine’s last hurrah, if it is that, casts shadows every Wednesday in August. \u003c/p>\n\u003cfigure id=\"attachment_11884916\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc.jpg\" alt=\"Still from 'Titicut Follies.'\" width=\"1200\" height=\"864\" class=\"size-full wp-image-11884916\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/TITICUT-FOLLIES3-credit-Photos-courtesy-of-Zipporah-Films-Inc-960x691.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Titicut Follies.’ \u003ccite>(Courtesy of Zipporah Films, Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>Banned from public exhibition for more than two decades, Frederick Wiseman’s verité horror show \u003cem>\u003ca href=\"https://www.ybca.org/whats-on/frederick-wiseman\" target=\"_blank\" rel=\"noopener\">Titicut Follies\u003c/a>\u003c/em> was first presented in the Bay Area by the S.F. Cinematheque in the late ‘80s. A record of the callous and cruel everyday treatment of inmates of the State Prison for the Criminally Insane in Bridgewater, Mass., it provoked a public outcry and major institutional changes upon its release in 1967. It would be nice to say that \u003cem>Titicut Follies\u003c/em> (Thursday at 7:30pm and Sunday at 2pm at Yerba Buena Center For the Arts) plays today like a historical artifact of a bygone era rather than a contemporary social-issue exposé. Indeed, it would. The documentary marked Wiseman’s filmmaking debut, and set him on an astonishing career that’s approaching the half-century mark.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The 1966 film \u003cem>Batman: The Movie\u003c/em> was shot between the first and second seasons of the television show. It used the same sets as the TV show, the same characters, costumes, the same story formula, and — most importantly — adopted the same tonal \u003cem>jiu-jitsu\u003c/em>: high silliness executed with grave seriousness.\u003c/p>\n\u003cp>The film differed from the TV show in small ways, however: Julie Newmar had a scheduling conflict, so Lee Meriweather stepped into the sparkly catsuit. The bigger budget allowed Batman to trick himself out with a Batcyle, Batcopter and Batboat.\u003c/p>\n\u003cp>The film premiered at Austin’s Paramount Theatre on July 30, 1966. (Why Austin? The Batboat was reportedly built by an Austin-based company who got the studio to agree to hold its red-carpet premiere there.)\u003c/p>\n\u003cp>The film was a moderate success, making a little over over $2 million, not quite twice its budget. But the studio had expected more, because the country had spent the spring of 1966 in the grip of a fervid Batmania.\u003c/p>\n\u003cp>The launch of the show back in January had arrived at exactly the right cultural moment. The Pop-Art movement prized anything that was slick, colorful, and mass-produced; Susan Sontag’s “Notes on Camp” essay, published two years before, had had enough time to filter down from academia into the mainstream. The nation was also in the habit of looking to television for frothy, high-concept diversions like \u003cem>My Favorite Martian,\u003c/em> \u003cem>Bewitched\u003c/em>, and \u003cem>The Munsters\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The result was a full-on \u003cem>Batman\u003c/em> fad: Batman dresses, hairstyles, and a “Batusi” dance craze. Nightclubs threw \u003cem>Batman\u003c/em>-related events, and toy companies pumped out Bat-merch by the metric ton.\u003c/p>\n\u003cp>But by the time the film premiered, America had been getting two episodes of the TV series every week for months. And although the ratings were still strong and would remain so well into the show’s second season, the nation’s Batmania was beginning to cool. And the notion of schlepping out to a movie theater to watch an hour-and-a-half version of something that came into your home for free every week wasn’t quite the motivation executives thought it was.\u003c/p>\n\u003cp>Even so: to watch \u003cem>Batman: The Movie \u003c/em>today is to savor the essence of the TV show. To modern eyes, its plot seems overstuffed, its structure rigidly episodic, its pacing more languorous than strictly necessary, and yet the whole thing is so blithely and sublimely goofy any quibbles fall by the wayside.\u003c/p>\n\u003cp>For many years it was the only taste of the TV show widely available, as the episodes themselves remained tied up in endless rights negotiations with various guest stars — or their estates. Maybe that’s why the movie contains so many elements that have come to define the show in the public consciousness.\u003c/p>\n\u003cp>Viz:\u003c/p>\n\u003cul>\n\u003cli>Shark-repellent Bat-spray!\u003c/li>\n\u003cli>“Penguin, Joker, Riddler … and Catwoman too? The sum of the angles of that rectangle is \u003cem>MONSTROUS\u003c/em> to contemplate!”\u003c/li>\n\u003cli>“Gosh, Batman. The nobility of the almost-human porpoise!”\u003c/li>\n\u003cli>“Comrade Kitayna Ireyna Tatanya Kerenska Alisoff. I am from the \u003cem>Moscow Bugle\u003c/em>.”\u003c/li>\n\u003cli>“\u003ca href=\"https://twitter.com/search?q=ghweldon%20bomb&src=typd\" target=\"_blank\" rel=\"noopener\">Some days you just can’t get rid of a bomb\u003c/a>!”\u003c/li>\n\u003c/ul>\n\u003cp>Today, all the episodes are available on Blu-Ray and streaming video, as is the movie. But back when the movie the only way to see Adam West in his blue satin cape, it felt like \u003cem>Batman\u003c/em> methadone to me – a pale substitute for the episodes I’d loved as a kid. And yet it still works, because the central, defining archness of its tone is so artificial that it effectively untethers the film from its time. \u003cem>Batman: The Movie\u003c/em> should seem a lot more dated than it does, but on its fiftieth birthday it reminds us of an abiding truth:\u003c/p>\n\u003cp>Tastes change, drama grows dated, humor palls.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But silly is eternal. \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=The+%2760s+%27Batman%27+Movie+Just+Turned+50+And+Attention+Must+Be+Paid+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result was a full-on \u003cem>Batman\u003c/em> fad: Batman dresses, hairstyles, and a “Batusi” dance craze. Nightclubs threw \u003cem>Batman\u003c/em>-related events, and toy companies pumped out Bat-merch by the metric ton.\u003c/p>\n\u003cp>But by the time the film premiered, America had been getting two episodes of the TV series every week for months. And although the ratings were still strong and would remain so well into the show’s second season, the nation’s Batmania was beginning to cool. And the notion of schlepping out to a movie theater to watch an hour-and-a-half version of something that came into your home for free every week wasn’t quite the motivation executives thought it was.\u003c/p>\n\u003cp>Even so: to watch \u003cem>Batman: The Movie \u003c/em>today is to savor the essence of the TV show. To modern eyes, its plot seems overstuffed, its structure rigidly episodic, its pacing more languorous than strictly necessary, and yet the whole thing is so blithely and sublimely goofy any quibbles fall by the wayside.\u003c/p>\n\u003cp>For many years it was the only taste of the TV show widely available, as the episodes themselves remained tied up in endless rights negotiations with various guest stars — or their estates. Maybe that’s why the movie contains so many elements that have come to define the show in the public consciousness.\u003c/p>\n\u003cp>Viz:\u003c/p>\n\u003cul>\n\u003cli>Shark-repellent Bat-spray!\u003c/li>\n\u003cli>“Penguin, Joker, Riddler … and Catwoman too? The sum of the angles of that rectangle is \u003cem>MONSTROUS\u003c/em> to contemplate!”\u003c/li>\n\u003cli>“Gosh, Batman. The nobility of the almost-human porpoise!”\u003c/li>\n\u003cli>“Comrade Kitayna Ireyna Tatanya Kerenska Alisoff. I am from the \u003cem>Moscow Bugle\u003c/em>.”\u003c/li>\n\u003cli>“\u003ca href=\"https://twitter.com/search?q=ghweldon%20bomb&src=typd\" target=\"_blank\" rel=\"noopener\">Some days you just can’t get rid of a bomb\u003c/a>!”\u003c/li>\n\u003c/ul>\n\u003cp>Today, all the episodes are available on Blu-Ray and streaming video, as is the movie. But back when the movie the only way to see Adam West in his blue satin cape, it felt like \u003cem>Batman\u003c/em> methadone to me – a pale substitute for the episodes I’d loved as a kid. And yet it still works, because the central, defining archness of its tone is so artificial that it effectively untethers the film from its time. \u003cem>Batman: The Movie\u003c/em> should seem a lot more dated than it does, but on its fiftieth birthday it reminds us of an abiding truth:\u003c/p>\n\u003cp>Tastes change, drama grows dated, humor palls.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But silly is eternal. \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=The+%2760s+%27Batman%27+Movie+Just+Turned+50+And+Attention+Must+Be+Paid+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Tallulah,' An Aimless Young Woman Stumbles Across A Purpose: Kidnapping",
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"content": "\u003cp>Halfway through \u003cem>Tallulah\u003c/em>, an unwieldy but affecting showcase for Ellen Page and Allison Janney, Lu (Page), a drifter suddenly confronted by an enormous responsibility stares up at blue sky above Washington Square Park and muses about gravity. What if it just stopped? What if we left these earthly bounds and floated off into the ether? It’s not a suicidal fantasy on Lu’s part, though circumstances have landed her in a terrible spot. She just wants to be free.\u003c/p>\n\u003cp>Written and directed by Sian Heder, an \u003cem>Orange is the New Black\u003c/em> staff writer making her feature debut, \u003cem>Tallulah\u003c/em> is a movie about the burdens of motherhood, of young adulthood, and of being a woman period. Heder and her cast work hard to make those themes land through the drama, which insistently finds connections between strangers of different generations who are thrown into the same crisis. Yet it’s also the type of movie that turns Lu’s dream of weightlessness into a clunky visual motif, not trusting us to understand characters that it imagines so thoroughly.\u003c/p>\n\u003cp>The too-muchness signaled by that metaphor carries over into the plotting, which survives a few hiccups and major contrivances to find its emotional center. First seen dashing away from a roadside bar with stolen liquor, the free-spirited Lu lives in a van with her boyfriend Nico (Evan Jonigkeit) and dreams idly of climbing the Himalayas, which she’s pretty sure are in India. The couple has spent two years eating out of dumpsters and begging truckers for shower tickets; Nico wants to settle down and Lu wants to continue down the open road.\u003c/p>\n\u003cp>Cue the cosmic record-scratch.\u003c/p>\n\u003cp>After Nico splits in the middle of the night, Lu drives to New York City in search of his mother, Margo (Janney), whom he intended to visit. Still penniless, Lu scavenges the halls of a fancy hotel for room service scraps, but winds up getting pulled into a situation that changes the course of her life. Mistaking her for housekeeping, Carolyn (Tammy Blanchard), a drunk, hapless trophy wife, ropes her into looking after her one-year-old daughter while she goes out on a date. Lu takes the assignment out of pity — as well as the piles of loose cash and jewelry in the room — but winds up taking the baby, too, when Carolyn comes back wasted and in no condition to care for her kid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little about Lu’s kidnapping makes sense — even if you accept her as a poor decision-maker, you have to get past her allergy to commitment — but she persuades Margo that the baby is her granddaughter, which is enough to get her through the door. The two have trouble getting along at first, given that Margo, set to sign divorce papers for a husband who left her for another man, doesn’t exactly want the company. While they tentatively bond around this beautiful, apple-cheeked lie, a frantic Carolyn summons the police and Child Protective Services, who vow to track her baby down, but have some questions about her fitness for motherhood.\u003c/p>\n\u003cp>https://youtu.be/8WSz2s-Gemc\u003c/p>\n\u003cp>\u003cem>Tallulah\u003c/em> cracks open several more cans of worms, too, expanding to include Margo’s flirtations with her apartment doorman, an awkward dinner with Margo’s soon-to-be ex-husband and live-in boyfriend, and a surprising chunk of time devoted to Carolyn and the investigation. The absence of strong narrative through-line makes the film feel diffuse and overstuffed, like a television season crammed into a two-hour window. But a word like “overstuffed” throws a darker shade on the generosity that’s the film’s greatest strength, owed to Heder’s commitment to writing three fully realized women and the troubles they have in liberating themselves — if, indeed, they want to be liberated at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Page and Janney, in particular, have terrific chemistry together, because both actresses are exceptionally good at leavening dramatic crises without undercutting their seriousness. There’s a humor and deftness to \u003cem>Tallulah\u003c/em> that the story wouldn’t seem to accommodate easily, given the desperation that unifies these characters around a kidnapped toddler. That Heder’s warts-and-all vision of maternal ambivalence lacks focus and concision seems partly by design, a refusal to oversimplify these women for the sake of narrative expedience. They’re screwed up. They’re good-hearted. They’re human.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Halfway through \u003cem>Tallulah\u003c/em>, an unwieldy but affecting showcase for Ellen Page and Allison Janney, Lu (Page), a drifter suddenly confronted by an enormous responsibility stares up at blue sky above Washington Square Park and muses about gravity. What if it just stopped? What if we left these earthly bounds and floated off into the ether? It’s not a suicidal fantasy on Lu’s part, though circumstances have landed her in a terrible spot. She just wants to be free.\u003c/p>\n\u003cp>Written and directed by Sian Heder, an \u003cem>Orange is the New Black\u003c/em> staff writer making her feature debut, \u003cem>Tallulah\u003c/em> is a movie about the burdens of motherhood, of young adulthood, and of being a woman period. Heder and her cast work hard to make those themes land through the drama, which insistently finds connections between strangers of different generations who are thrown into the same crisis. Yet it’s also the type of movie that turns Lu’s dream of weightlessness into a clunky visual motif, not trusting us to understand characters that it imagines so thoroughly.\u003c/p>\n\u003cp>The too-muchness signaled by that metaphor carries over into the plotting, which survives a few hiccups and major contrivances to find its emotional center. First seen dashing away from a roadside bar with stolen liquor, the free-spirited Lu lives in a van with her boyfriend Nico (Evan Jonigkeit) and dreams idly of climbing the Himalayas, which she’s pretty sure are in India. The couple has spent two years eating out of dumpsters and begging truckers for shower tickets; Nico wants to settle down and Lu wants to continue down the open road.\u003c/p>\n\u003cp>Cue the cosmic record-scratch.\u003c/p>\n\u003cp>After Nico splits in the middle of the night, Lu drives to New York City in search of his mother, Margo (Janney), whom he intended to visit. Still penniless, Lu scavenges the halls of a fancy hotel for room service scraps, but winds up getting pulled into a situation that changes the course of her life. Mistaking her for housekeeping, Carolyn (Tammy Blanchard), a drunk, hapless trophy wife, ropes her into looking after her one-year-old daughter while she goes out on a date. Lu takes the assignment out of pity — as well as the piles of loose cash and jewelry in the room — but winds up taking the baby, too, when Carolyn comes back wasted and in no condition to care for her kid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little about Lu’s kidnapping makes sense — even if you accept her as a poor decision-maker, you have to get past her allergy to commitment — but she persuades Margo that the baby is her granddaughter, which is enough to get her through the door. The two have trouble getting along at first, given that Margo, set to sign divorce papers for a husband who left her for another man, doesn’t exactly want the company. While they tentatively bond around this beautiful, apple-cheeked lie, a frantic Carolyn summons the police and Child Protective Services, who vow to track her baby down, but have some questions about her fitness for motherhood.\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/8WSz2s-Gemc'\n title='//www.youtube.com/embed/8WSz2s-Gemc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Tallulah\u003c/em> cracks open several more cans of worms, too, expanding to include Margo’s flirtations with her apartment doorman, an awkward dinner with Margo’s soon-to-be ex-husband and live-in boyfriend, and a surprising chunk of time devoted to Carolyn and the investigation. The absence of strong narrative through-line makes the film feel diffuse and overstuffed, like a television season crammed into a two-hour window. But a word like “overstuffed” throws a darker shade on the generosity that’s the film’s greatest strength, owed to Heder’s commitment to writing three fully realized women and the troubles they have in liberating themselves — if, indeed, they want to be liberated at all.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Page and Janney, in particular, have terrific chemistry together, because both actresses are exceptionally good at leavening dramatic crises without undercutting their seriousness. There’s a humor and deftness to \u003cem>Tallulah\u003c/em> that the story wouldn’t seem to accommodate easily, given the desperation that unifies these characters around a kidnapped toddler. That Heder’s warts-and-all vision of maternal ambivalence lacks focus and concision seems partly by design, a refusal to oversimplify these women for the sake of narrative expedience. They’re screwed up. They’re good-hearted. They’re human.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-gentrification-blues-a-cafeteria-riot-and-a-cunning-vixen",
"title": "Cy and David's Picks: Gentrification Blues, a Cafeteria Riot, and a Cunning Vixen",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160729.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=-QqsRKxHpIc\u003c/p>\n\u003cp>\u003cstrong>July 30, Aug. 4-6, and Aug. 14\u003c/strong>: On Terri Odabi’s terrific new album \u003cem>My Blue Soul, \u003c/em>she\u003cem> \u003c/em>sings “Gentrification Blues,” with the lyrics: \u003cem>“I ain’t gonna let nobody tell me where to sing my song. If you don’t like my music, maybe you don’t belong.”\u003c/em> Odabi grew up in Oakland and graduated from Fremont High, and she’s referring to noise complaints about a church service and a drum circle by newcomers to her city last year. Odabi is showing her political but also her musical range, mixing blues, soul, and jazz in a flurry of gigs in the next few weeks — including three days at Cafe Stritch in San Jose as vocalist with Steve Turre and Marcus Shelby in the club’s annual tribute to \u003ca href=\"http://jazztimes.com/articles/17992-rahsaan-roland-kirk-the-cult-of-kirk\" target=\"_blank\" rel=\"noopener\">Rahsaan Roland Kirk\u003c/a>. First, though, catch her at Biscuits and Blues on July 30, details \u003ca href=\"http://www.biscuitsandblues.com/terrieodabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Details for the Cafe Stritch gig Aug. 4-6 are \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Then she plays the\u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> San Jose Jazz Summer Fest \u003c/a>August 14, details \u003ca href=\"https://summerfest.sanjosejazz.org/artists/terrie-odabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003caside class=\"aligncenter\">https://vimeo.com/12543155\u003c/aside>\n\u003cp>\u003cstrong>Aug 4, 16, 18\u003c/strong>: In August of 1966, three years before the Stonewall riots in New York, San Francisco’s Tenderloin was the scene of a violent protest against police harassment of drag queens, trans sex workers, and “hair fairies,” in what’s become known as the Compton’s Cafeteria Riot. Both the Tenderloin and the GLBT Museums are collaborating on a series of events to commemorate the 50th anniversary of an time when cross-dressing was illegal. Halloween must have been very dull. You can find details on the series of lectures and films (including documentary \u003cem>Screaming Queens\u003c/em> at the Roxie Aug. 18), right \u003ca href=\"http://www.glbthistory.org/2016/07/15/comptons-riot-tenderloin-queer-history-walking-tour-kickoff-reception/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11872648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11872648 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg\" alt=\"West Edge Opera presents 'The Cunning Little Vixen' by Janacek with Amy Foote as the vixen \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents ‘The Cunning Little Vixen’ by Janacek with Amy Foote as the vixen \u003ccite>(Photo: Corey Weaver/West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 29-Aug. 14\u003c/strong>: Oakland’s abandoned train station makes a perfect stage for the do-more-with-less-impresarios at West Edge Opera. Mark Streshinsky and Jonathan Khuner strive to make opera for the people, small but really exciting productions of classics and newer works. This year, they’re spanning three centuries with the first Bay Area production of Thomas Adès sexually explicit \u003cem>Powder Her Face\u003c/em>, about the Duchess of Argyll (directed by the ingenious Elkhanah Pulitzer), Handel’s old-school \u003cem>Agrippina,\u003c/em> and Janáček’s \u003cem>Cunning Little Vixen\u003c/em>. Nothing stuffy about these productions. Details \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11865214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11865214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg\" alt=\"Part of the exhibit 'Oakland: I Want You to Know' at the Oakland Museum of California\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the exhibit ‘Oakland: I Want You to Know’ at the Oakland Museum of California \u003ccite>(Photo: Courtesy of Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Oct. 30\u003c/strong>: \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California\u003c/a> has been working the last few years to become what it calls “a people’s museum.” And \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">\u003cem>Oakland: I want you to know… \u003c/em>\u003c/a>is the latest example, a show in which artists and community groups (City Slicker Farms, Youth Radio, and more) tell stories about the great city they love and their anxieties about gentrification. The exhibit was put together by Oakland artist Chris Treggiari and the museum’s Curator of Public Practice, Evelyn Orantes, who says the exhibit asks this question: “What makes a community? What are the people, places, and histories that we want to protect and retain, and if there’s ever a city that can fight the good fight, it’s Oakland, home of the Panthers, home of activism, home of Occupy.” Julie Plasencia’s portraits from West Oakland are a highlight. Details \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L9KCYdJ3yeQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aug. 2 and 13: La Luz is an all-woman surf-rock band born in Seattle, now in Los Angeles, so I guess the water is a bit warmer. Shana Cleveland sings and really shreds on lead guitar when she wants to. Cleveland, Marian Li Pino on drums, Alice Sandahl on keyboard, and Lena Simon on bass make retro-rock feel very fresh. Further establishing their cred, they’ll release a new album this month produced by the ubiquitous garage-rocker Ty Segall. Details for their shows Tuesday at the Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1204891-la-luz-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here,\u003c/a> and at the Ritz in San Jose are \u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\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/-QqsRKxHpIc'\n title='//www.youtube.com/embed/-QqsRKxHpIc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 30, Aug. 4-6, and Aug. 14\u003c/strong>: On Terri Odabi’s terrific new album \u003cem>My Blue Soul, \u003c/em>she\u003cem> \u003c/em>sings “Gentrification Blues,” with the lyrics: \u003cem>“I ain’t gonna let nobody tell me where to sing my song. If you don’t like my music, maybe you don’t belong.”\u003c/em> Odabi grew up in Oakland and graduated from Fremont High, and she’s referring to noise complaints about a church service and a drum circle by newcomers to her city last year. Odabi is showing her political but also her musical range, mixing blues, soul, and jazz in a flurry of gigs in the next few weeks — including three days at Cafe Stritch in San Jose as vocalist with Steve Turre and Marcus Shelby in the club’s annual tribute to \u003ca href=\"http://jazztimes.com/articles/17992-rahsaan-roland-kirk-the-cult-of-kirk\" target=\"_blank\" rel=\"noopener\">Rahsaan Roland Kirk\u003c/a>. First, though, catch her at Biscuits and Blues on July 30, details \u003ca href=\"http://www.biscuitsandblues.com/terrieodabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Details for the Cafe Stritch gig Aug. 4-6 are \u003ca href=\"http://www.cafestritch.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. Then she plays the\u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\"> San Jose Jazz Summer Fest \u003c/a>August 14, details \u003ca href=\"https://summerfest.sanjosejazz.org/artists/terrie-odabi\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003caside class=\"aligncenter\">https://vimeo.com/12543155\u003c/aside>\n\u003cp>\u003cstrong>Aug 4, 16, 18\u003c/strong>: In August of 1966, three years before the Stonewall riots in New York, San Francisco’s Tenderloin was the scene of a violent protest against police harassment of drag queens, trans sex workers, and “hair fairies,” in what’s become known as the Compton’s Cafeteria Riot. Both the Tenderloin and the GLBT Museums are collaborating on a series of events to commemorate the 50th anniversary of an time when cross-dressing was illegal. Halloween must have been very dull. You can find details on the series of lectures and films (including documentary \u003cem>Screaming Queens\u003c/em> at the Roxie Aug. 18), right \u003ca href=\"http://www.glbthistory.org/2016/07/15/comptons-riot-tenderloin-queer-history-walking-tour-kickoff-reception/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11872648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11872648 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg\" alt=\"West Edge Opera presents 'The Cunning Little Vixen' by Janacek with Amy Foote as the vixen \" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-768x492.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1180x755.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-1920x1229.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/B5A2389-e1469828016368-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents ‘The Cunning Little Vixen’ by Janacek with Amy Foote as the vixen \u003ccite>(Photo: Corey Weaver/West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 29-Aug. 14\u003c/strong>: Oakland’s abandoned train station makes a perfect stage for the do-more-with-less-impresarios at West Edge Opera. Mark Streshinsky and Jonathan Khuner strive to make opera for the people, small but really exciting productions of classics and newer works. This year, they’re spanning three centuries with the first Bay Area production of Thomas Adès sexually explicit \u003cem>Powder Her Face\u003c/em>, about the Duchess of Argyll (directed by the ingenious Elkhanah Pulitzer), Handel’s old-school \u003cem>Agrippina,\u003c/em> and Janáček’s \u003cem>Cunning Little Vixen\u003c/em>. Nothing stuffy about these productions. Details \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11865214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11865214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg\" alt=\"Part of the exhibit 'Oakland: I Want You to Know' at the Oakland Museum of California\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/20160721_OIWY2K_OMCA_006-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the exhibit ‘Oakland: I Want You to Know’ at the Oakland Museum of California \u003ccite>(Photo: Courtesy of Oakland Museum of California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Oct. 30\u003c/strong>: \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California\u003c/a> has been working the last few years to become what it calls “a people’s museum.” And \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">\u003cem>Oakland: I want you to know… \u003c/em>\u003c/a>is the latest example, a show in which artists and community groups (City Slicker Farms, Youth Radio, and more) tell stories about the great city they love and their anxieties about gentrification. The exhibit was put together by Oakland artist Chris Treggiari and the museum’s Curator of Public Practice, Evelyn Orantes, who says the exhibit asks this question: “What makes a community? What are the people, places, and histories that we want to protect and retain, and if there’s ever a city that can fight the good fight, it’s Oakland, home of the Panthers, home of activism, home of Occupy.” Julie Plasencia’s portraits from West Oakland are a highlight. Details \u003ca href=\"http://museumca.org/exhibit/oakland-i-want-you-to-know\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bill Cosby has dropped a lawsuit that demanded the accuser in his criminal case repay the money from their confidential 2006 court settlement.\u003c/p>\n\u003cp>Cosby had sued Andrea Constand for breach of contract for speaking to police who reopened the criminal investigation last year. His lawyers argued that her police statements, along with two tweets and brief comments to a Toronto newspaper, violated the confidentiality clause.\u003c/p>\n\u003cp>A judge this month upheld her right to talk to police, but said Cosby could pursue the other issues. Cosby, though, dropped the suit entirely on Thursday. The move comes a week after he switched law firms for the second time in about a year.\u003c/p>\n\u003cp>“With a court validation of his ability to proceed … Mr. Cosby has today stepped away from that suit and will instead focus his efforts on defending himself against the claims that have been lodged against him,” his lawyer said in a statement.\u003c/p>\n\u003cp>The swirl of litigation surrounding Cosby includes the felony sexual-assault case involving Constand and a string of defamation lawsuits filed by women who said they were branded liars when Cosby or his agents denied their similar claims.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Constand’s lawyers called the lawsuit Cosby filed against their client “a blatant attempt at intimidation.” They had also been named as defendants, along with Constand’s mother.\u003c/p>\n\u003cp>“The dismissal is a victory for all victims,” lawyer Dolores Troiani said.\u003c/p>\n\u003cp>No trial date has been set for Cosby’s felony sex-assault trial. He is accused of drugging and molesting Constand at his home near Philadelphia in 2004.\u003c/p>\n\u003cp>Constand sued him in 2005 after prosecutors at the time declined to file charges. The criminal case was reopened after other accusers came forward and Cosby’s deposition in the civil suit was released.\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>Bill Cosby has dropped a lawsuit that demanded the accuser in his criminal case repay the money from their confidential 2006 court settlement.\u003c/p>\n\u003cp>Cosby had sued Andrea Constand for breach of contract for speaking to police who reopened the criminal investigation last year. His lawyers argued that her police statements, along with two tweets and brief comments to a Toronto newspaper, violated the confidentiality clause.\u003c/p>\n\u003cp>A judge this month upheld her right to talk to police, but said Cosby could pursue the other issues. Cosby, though, dropped the suit entirely on Thursday. The move comes a week after he switched law firms for the second time in about a year.\u003c/p>\n\u003cp>“With a court validation of his ability to proceed … Mr. Cosby has today stepped away from that suit and will instead focus his efforts on defending himself against the claims that have been lodged against him,” his lawyer said in a statement.\u003c/p>\n\u003cp>The swirl of litigation surrounding Cosby includes the felony sexual-assault case involving Constand and a string of defamation lawsuits filed by women who said they were branded liars when Cosby or his agents denied their similar claims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Constand’s lawyers called the lawsuit Cosby filed against their client “a blatant attempt at intimidation.” They had also been named as defendants, along with Constand’s mother.\u003c/p>\n\u003cp>“The dismissal is a victory for all victims,” lawyer Dolores Troiani said.\u003c/p>\n\u003cp>No trial date has been set for Cosby’s felony sex-assault trial. He is accused of drugging and molesting Constand at his home near Philadelphia in 2004.\u003c/p>\n\u003cp>Constand sued him in 2005 after prosecutors at the time declined to file charges. The criminal case was reopened after other accusers came forward and Cosby’s deposition in the civil suit was released.\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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"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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"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": {
"id": "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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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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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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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"planet-money": {
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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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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"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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"order": 5
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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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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},
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