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"content": "\u003cp>A federal judge has pared back a lawsuit in which Bill Cosby claims a woman accusing him of sexual assault, her mother, two lawyers and the publisher of the National Enquirer violated a confidential settlement agreement.\u003c/p>\n\u003cp>U.S. Judge Eduardo Robreno ruled Friday that the accuser and others could not be sued for talking to law enforcement about her allegations.\u003c/p>\n\u003cp>The judge said, however, that other aspects of the lawsuit can proceed.\u003c/p>\n\u003cp>The comedian sued in February, claiming that all five parties breached a 2006 secrecy deal they had all signed and that the woman’s actions have unjustly enriched her.\u003c/p>\n\u003cp>The confidential settlement agreement is “unenforceable as against public policy” if it prevents those who signed it from voluntarily talking to law enforcement about possible crimes, Robreno wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The judge dismissed the accuser’s mother from the lawsuit as well as all breach-of-contract allegations that relate to speaking to police about the matter.\u003c/p>\n\u003cp>Robreno allowed the case to continue regarding recent statements and actions by the accuser — two tweets in early 2014 and a 2015 interview with the Toronto Sun. The lawsuit’s claims regarding a separate lawsuit filed by the attorneys against a prosecutor and a letter they wrote that was published in The Philadelphia Inquirer were not thrown out.\u003c/p>\n\u003cp>American Media, the National Enquirer’s publisher, also must still defend allegations it violated the agreement with several stories published over the past year.\u003c/p>\n\u003cp>Questions of fact remain that should be aired at trial, Robreno ruled. Those questions include “what was already in the public record when the National Enquirer published articles about Cosby” and “Cosby’s own actions, and the timing thereof.”\u003c/p>\n\u003cp>Cosby is awaiting trial in suburban Philadelphia for the alleged aggravated indecent assault of the woman in 2004. He paid an undisclosed amount to the alleged victim in 2006.\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>A federal judge has pared back a lawsuit in which Bill Cosby claims a woman accusing him of sexual assault, her mother, two lawyers and the publisher of the National Enquirer violated a confidential settlement agreement.\u003c/p>\n\u003cp>U.S. Judge Eduardo Robreno ruled Friday that the accuser and others could not be sued for talking to law enforcement about her allegations.\u003c/p>\n\u003cp>The judge said, however, that other aspects of the lawsuit can proceed.\u003c/p>\n\u003cp>The comedian sued in February, claiming that all five parties breached a 2006 secrecy deal they had all signed and that the woman’s actions have unjustly enriched her.\u003c/p>\n\u003cp>The confidential settlement agreement is “unenforceable as against public policy” if it prevents those who signed it from voluntarily talking to law enforcement about possible crimes, Robreno wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The judge dismissed the accuser’s mother from the lawsuit as well as all breach-of-contract allegations that relate to speaking to police about the matter.\u003c/p>\n\u003cp>Robreno allowed the case to continue regarding recent statements and actions by the accuser — two tweets in early 2014 and a 2015 interview with the Toronto Sun. The lawsuit’s claims regarding a separate lawsuit filed by the attorneys against a prosecutor and a letter they wrote that was published in The Philadelphia Inquirer were not thrown out.\u003c/p>\n\u003cp>American Media, the National Enquirer’s publisher, also must still defend allegations it violated the agreement with several stories published over the past year.\u003c/p>\n\u003cp>Questions of fact remain that should be aired at trial, Robreno ruled. Those questions include “what was already in the public record when the National Enquirer published articles about Cosby” and “Cosby’s own actions, and the timing thereof.”\u003c/p>\n\u003cp>Cosby is awaiting trial in suburban Philadelphia for the alleged aggravated indecent assault of the woman in 2004. He paid an undisclosed amount to the alleged victim in 2006.\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>Even if you are a serious person with adult responsibilities, you are likely aware that a new incarnation of \u003cem>Ghostbusters \u003c/em>arrives in theaters this week. It stars four funny women and was co-written by a fifth, and at least some proportion of its intended audience has found these staffing decisions alarming. While I haven't seen it yet, \u003cem>Ghostbusters\u003c/em> '16 is by most accounts neither a feminist battle cry nor a cynically made disaster, but a light midsummer amusement. \"Too risk-averse,\" \u003ca href=\"http://www.villagevoice.com/film/busted-flat-all-too-normal-activity-dominates-the-ghostbusters-remake-8841463\">wrote the \u003cem>Village Voice's\u003c/em> Melissa Anderson\u003c/a>. \"It never strays far from the anodyne, generic humor that pervades the Ivan Reitman-directed 1984 original.\"\u003c/p>\n\u003cp>Those words — \u003cem>anodyne, generic\u003c/em> — are comedy anti-matter. But they perfectly capture how weird it is that \u003cem>Ghostbusters\u003c/em> has become a subject of controversy. If you were at all cognizant of pop culture in 1984, as I was just starting to be, the idea that 32 years later Prince — the artist formerly known as the guy who almost single-handedly prompted Tipper Gore to found the Parents Music Resource Counsel — would find himself near-universally beloved, while \u003cem>Ghostbusters\u003c/em> has become a divisive topic, is a tough thing to get your head around.\u003c/p>\n\u003cp>There was something going on that year, 1984. More than three decades before it arrived, George Orwell had pegged it as a year in which fresh ideas would be violently suppressed. No one knew it at the time, but 1984's box-office charts foretold the originality-averse multiplex dystopia that awaited us on the other side of the millennium. In \u003cem>The Terminator\u003c/em>, the year's 21st(!)-highest grossing film we learned that the early 21st century would find the shivering, starving, war-thinned human herd hunted to extinction by machines. Emotionless. Data-driven. They do not feel pity, or remorse, or fear. In that respect they'er a lot like the beings who decide, in this nightmare year of Two Thousand Sixteen, which movies get greenlit.\u003c/p>\n\u003cp>Okay, that's an overstatement. This isn't: In box office terms, 1984 resembled 2014 a lot more closely than it did 1983 or 1985. Because, for the first time in history, \u003cem>every single one\u003c/em> of its Top Ten grossing films spawned a sequel or a remake or both ... except for the Daryl Hannah-Tom Hanks mermaid romance \u003cem>Splash.\u003c/em>\u003c/p>\n\u003cp>(Wait, no, sorry, I'm getting something in my earpiece. It's seems there was a made-for-TV \u003cem>Splash Too,\u003c/em> featuring none of \u003cem>Splash\u003c/em>'s principal players, in 1988.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Movies are only real if they're released in theaters, agreed?)\u003c/p>\n\u003cp>Anyway: producer Brian Grazer announced last month that he's working on a big-screen \u003cem>Splash\u003c/em> remake.\u003c/p>\n\u003cp>Of course he is.\u003c/p>\n\u003cp>\u003cstrong>1984: The Year We Made Contact\u003c/strong>\u003c/p>\n\u003cp>The Top 10 Films of 1984, as reported by Box Office Mojo.\u003c/p>\n\u003col>\n\u003cli>\u003cem>Beverly Hills Cop\u003c/em> (Sequels in '87, '94, unsuccessful TV pilot in 2014)\u003c/li>\n\u003cli>\u003cem>Ghostbusters\u003c/em> (Sequeled in '89, rebooted 2016)\u003c/li>\n\u003cli>\u003cem>Indiana Jones and the Temple of Doom\u003c/em> (Sequels in '89 & '08; reboot threatened)\u003c/li>\n\u003cli>\u003cem>Gremlins\u003c/em>* (Sequeled in 1990)\u003c/li>\n\u003cli>\u003cem>The Karate Kid\u003c/em> (Sequels '86, '89, '94, remade 2010)\u003c/li>\n\u003cli>\u003cem>Police Academy\u003c/em> (Sequels '85, '86, '87, '88, '89, '94)\u003c/li>\n\u003cli>\u003cem>Footloose\u003c/em> (remade 2011)\u003c/li>\n\u003cli>\u003cem>Romancing the Stone\u003c/em> (Sequeled 1985)\u003c/li>\n\u003cli>\u003cem>Star Trek III: The Search for Spock\u003c/em> (Sequels '86, '89, '91, '94, rebooted 2009)\u003c/li>\n\u003cli>\u003cem>Splash\u003c/em>*\u003c/li>\n\u003c/ol>\n\u003cp>\u003cem>*\u003c/em>Numbers 11 and 12 were \u003cem>Purple Rain\u003c/em> and \u003cem>Amadeus\u003c/em>, respectively. Their principal creators, Prince and the playwright Peter Shaffer, both died just this year. Number 15 was \u003cem>Greystoke: The Legend of Tarzan\u003c/em>, \u003cem>Lord of the Apes\u003c/em>, another property we're \u003ca href=\"http://www.npr.org/2016/07/01/483702536/can-you-really-rebuild-tarzan-out-of-whole-loin-cloth\">still monkeying around with\u003c/a>.\u003c/p>\n\u003cp>While nine of these films would spawn theatrically-released sequels — hell, \u003cem>Police Academy\u003c/em> and \u003cem>Romancing the Stone\u003c/em> had quickie follow-ups out the following year — only two of them \u003cem>were\u003c/em> sequels. (\u003cem>Temple of Doom\u003c/em> was technically a \u003cem>prequel\u003c/em> to 1981's \u003cem>Raiders of the Lost Ark, \u003c/em>but whatever.) Four of the top five were original concepts.\u003c/p>\n\u003cp>That wasn't unusual at the time. 1983's Top 10 contained four sequels/franchise installments: \u003cem>The Return of the Jedi\u003c/em> at Number 1; the Roger-Moore-in-clown-makeup James Bond flick \u003cem>Octopussy\u003c/em> at Number 6; \u003cem>Sudden Impact,\u003c/em> the third sequel to \u003cem>Dirty Harry, \u003c/em>at Number 7; and \u003cem>Staying Alive,\u003c/em> a follow-up to \u003cem>Saturday Night Fever\u003c/em> written and directed by Sylvester Stallone because \u003cem>sure,\u003c/em> at Number 8.\u003c/p>\n\u003cp>The remainder of the lushly exploitable IP in 1983's Top Ten has been left alone, mostly. 1983's No. 2 movie, the Best Picture-winning \u003cem>Terms of Endearment, \u003c/em>got an unlikely sequel. It was called \u003cem>The Evening Star,\u003c/em> and it was one of the most bruising belly-flops of 1996, failing to crack that year's Top 100. Like \u003cem>Terms of Endearment, The Evening Star \u003c/em>was adapted from a Larry McMurty novel.\u003c/p>\n\u003cp>But there was no follow-up to 1983's far likelier candidates for the Electric Boogalo treatment: not \u003cem>Flashdance, \u003c/em>the year's Number 3 hit, nor \u003cem>Trading Places\u003c/em> (Number 4) nor \u003cem>WarGames\u003c/em> (Number 5) nor \u003cem>Risky Business \u003c/em>(Number 10). Compared to '83, 1984's biggest hits were simply easier to franchise.\u003c/p>\n\u003cp>(Wait, sorry, I'm receiving new information that a direct-to-DVD sequel entitled \u003cem>WarGames: The Dead Code, \u003c/em>directed by and starring no one you've ever heard of, sought to capitalize on \u003cem>WarGames' \u003c/em>massive Reagan-era cache in... 2008. What did we say about DTV releases? They don't count. Moving on.)\u003c/p>\n\u003cp>\u003cstrong>Johnny '85 Is Alive\u003c/strong>\u003c/p>\n\u003cp>But enough of 1984's past, let's get back... to the future! 1985's box office champ, \u003cem>Back to the Future,\u003c/em> towered over its closest competition by a cool $60 million. In the Number 2 and 3 positions we get \u003cem>Rambo: First Blood Part II\u003c/em> and \u003cem>Rocky IV, \u003c/em>respectively. Clearly, Sly did not let the poor reviews of \u003cem>Staying Alive\u003c/em> get him down — \"It's not even as good as \u003cem>Flashdance,\" \u003c/em>Roger Ebert \u003ca href=\"http://www.rogerebert.com/reviews/staying-alive-1983\">wrote\u003c/a> — because '85 was indisputably \u003cem>his year.\u003c/em>\u003c/p>\n\u003cp>Well, his and Phil Collins'.\u003c/p>\n\u003cp>But after those three, 1985's Top Ten opened up to accommodate plenty of serious, and as yet, un-remade, fare: \u003cem>The Color Purple \u003c/em>(adapted from Alice Walker's novel, and now the basis for a Broadway musical that could well become a movie); \u003cem>Out of Africa \u003c/em>(adapted from Karen Blixen's memoir); and \u003cem>Witness, \u003c/em>which actually won the Academy Award for Best Original Screenplay.\u003c/p>\n\u003cp>It also included\u003cem> The Goonies \u003c/em>and\u003cem> Spies Like Us, \u003c/em>both of which seem eminently remakeable, but for whatever reason have not been.\u003c/p>\n\u003cp>The 80s ran themselves out in similar fashion. In each year, sequels or adaptations of preexisting material were the exceptions in the Top Ten rather than the rule. Until, that is, 1989, when the top earners included the long-in-development \u003cem>Batman, Indiana Jones and the Last Crusade, Lethal Weapon 2, \u003c/em>and\u003cem> Back to the Future Part II. \u003c/em>Oh, and one other sequel, less inspired than any of those: \u003cem>Ghostbusters II.\u003c/em>\u003c/p>\n\u003cp>But 1989 was an anomaly. Five years later, the ratio of new material to old in the Top Ten was far smaller than it had been a decade earlier, but still healthier than today. The biggest hit of 1994's was a Best Picture-winning adaptation of Winston Groom's novel \u003cem>Forrest Gump. \u003c/em>Number 2 was \u003cem>The Lion King — Hamlet\u003c/em> for kids, but we'll still count it as an original. Number 3, the action comedy \u003cem>True Lies, \u003c/em>was in fact a pumped-up remake of a French farce called \u003cem>La Totale!,\u003c/em> but this was probably not one of the key factors that persuaded millions of patriotic Americans to buy a ticket for a James Cameron-directed Arnold Schwarzenegger movie.\u003c/p>\n\u003cp>Also in the Top 10: \u003cem>Clear and Present Danger\u003c/em> (based on a Tom Clancy novel,), \u003cem>The Flintstones\u003c/em> (based on a Hanna-Barbera cartoon), and \u003cem>The Mask\u003c/em> (based on a comic book). Squeaking in at Number 10 was a wildly energetic and unpredictable crime picture, one that exuded originality from every pore --despite taking its title from a genre where formulaic plots and stock characters are celebrated. It was called \u003cem>Pulp Fiction.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Millennium Approaches: Sequels, Adaptations, Passion Plays\u003c/strong>\u003c/p>\n\u003cp>On the other side of the millennium, innovation waned. The biggest hits of 2004 were \u003cem>Shrek 2 \u003c/em>and \u003cem>Spider-Man 2, \u003c/em>followed by Mel Gibson's \u003cem>The Passion of the Christ, \u003c/em>which was, you know, based on preexisting material, if not exactly in the same way that \u003cem>Meet the Fockers \u003c/em>was.\u003c/p>\n\u003cp>There were still a few \"originals,\" however derivative, in the Top Ten: The Roland Emmerich bad-weather thriller \u003cem>The Day After Tomorrow\u003c/em>. \u003cem>National Treasure.\u003c/em> Brad Bird's wonderful Pixar superhero movie \u003cem>The Incredibles. \u003c/em>And when the franchise entries were as strong as \u003cem>Spider-Man 2\u003c/em> (Number 2), \u003cem>Harry Potter and the Prisoner of Azkaban \u003c/em>(Number 4), and \u003cem>The Bourne Supremacy\u003c/em> (Number 8), who was going to complain?\u003c/p>\n\u003cp>By 2014, there was \u003cem>nothing\u003c/em> not extrapolated from a preexisting movie or comic book or Navy SEAL's memoir in the Top Ten.\u003cem> (American Sniper \u003c/em>became the first R-rated movie to win its year since\u003cem> Saving Private Ryan \u003c/em>16 years earlier.) Unless of course you want to count \u003cem>Maleficent, \u003c/em>a reframing of \u003cem>Sleeping Beauty,\u003c/em> or \u003cem>The Lego Movie\u003c/em>, which was of course adapted from a set of molded plastic blocks that hurt when you step on them barefoot.\u003c/p>\n\u003cp>We got our first glimpse of this state of affairs 32 years ago now, in that year Orwell warned us about. We weren't afraid of no ghosts, but maybe we should have been. These days, they're pretty much all all we get.\u003c/p>\n\u003cp>And yet: when our franchise entries are as strong as \u003ca href=\"http://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2015/11/25/457130828/vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky\">\u003cem>Creed\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/12/18/460001132/pop-culture-happy-hour-star-wars-the-force-awakens-and-toys\">\u003cem>Star Wars: The Force Awakens\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2016/05/06/476490464/captain-america-civil-war-is-the-mightiest-marvel-movie\">\u003cem>Captain America: Civil War\u003c/em>\u003c/a>\u003cem>, \u003c/em>who's going to complain? Not me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But... maybe go see \u003cem>The Lobster,\u003c/em> too, would you?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1984%3A+The+Year+We+Unwittingly+Stopped+Watching+Movies+And+Started+Watching+Franchises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you are a serious person with adult responsibilities, you are likely aware that a new incarnation of \u003cem>Ghostbusters \u003c/em>arrives in theaters this week. It stars four funny women and was co-written by a fifth, and at least some proportion of its intended audience has found these staffing decisions alarming. While I haven't seen it yet, \u003cem>Ghostbusters\u003c/em> '16 is by most accounts neither a feminist battle cry nor a cynically made disaster, but a light midsummer amusement. \"Too risk-averse,\" \u003ca href=\"http://www.villagevoice.com/film/busted-flat-all-too-normal-activity-dominates-the-ghostbusters-remake-8841463\">wrote the \u003cem>Village Voice's\u003c/em> Melissa Anderson\u003c/a>. \"It never strays far from the anodyne, generic humor that pervades the Ivan Reitman-directed 1984 original.\"\u003c/p>\n\u003cp>Those words — \u003cem>anodyne, generic\u003c/em> — are comedy anti-matter. But they perfectly capture how weird it is that \u003cem>Ghostbusters\u003c/em> has become a subject of controversy. If you were at all cognizant of pop culture in 1984, as I was just starting to be, the idea that 32 years later Prince — the artist formerly known as the guy who almost single-handedly prompted Tipper Gore to found the Parents Music Resource Counsel — would find himself near-universally beloved, while \u003cem>Ghostbusters\u003c/em> has become a divisive topic, is a tough thing to get your head around.\u003c/p>\n\u003cp>There was something going on that year, 1984. More than three decades before it arrived, George Orwell had pegged it as a year in which fresh ideas would be violently suppressed. No one knew it at the time, but 1984's box-office charts foretold the originality-averse multiplex dystopia that awaited us on the other side of the millennium. In \u003cem>The Terminator\u003c/em>, the year's 21st(!)-highest grossing film we learned that the early 21st century would find the shivering, starving, war-thinned human herd hunted to extinction by machines. Emotionless. Data-driven. They do not feel pity, or remorse, or fear. In that respect they'er a lot like the beings who decide, in this nightmare year of Two Thousand Sixteen, which movies get greenlit.\u003c/p>\n\u003cp>Okay, that's an overstatement. This isn't: In box office terms, 1984 resembled 2014 a lot more closely than it did 1983 or 1985. Because, for the first time in history, \u003cem>every single one\u003c/em> of its Top Ten grossing films spawned a sequel or a remake or both ... except for the Daryl Hannah-Tom Hanks mermaid romance \u003cem>Splash.\u003c/em>\u003c/p>\n\u003cp>(Wait, no, sorry, I'm getting something in my earpiece. It's seems there was a made-for-TV \u003cem>Splash Too,\u003c/em> featuring none of \u003cem>Splash\u003c/em>'s principal players, in 1988.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Movies are only real if they're released in theaters, agreed?)\u003c/p>\n\u003cp>Anyway: producer Brian Grazer announced last month that he's working on a big-screen \u003cem>Splash\u003c/em> remake.\u003c/p>\n\u003cp>Of course he is.\u003c/p>\n\u003cp>\u003cstrong>1984: The Year We Made Contact\u003c/strong>\u003c/p>\n\u003cp>The Top 10 Films of 1984, as reported by Box Office Mojo.\u003c/p>\n\u003col>\n\u003cli>\u003cem>Beverly Hills Cop\u003c/em> (Sequels in '87, '94, unsuccessful TV pilot in 2014)\u003c/li>\n\u003cli>\u003cem>Ghostbusters\u003c/em> (Sequeled in '89, rebooted 2016)\u003c/li>\n\u003cli>\u003cem>Indiana Jones and the Temple of Doom\u003c/em> (Sequels in '89 & '08; reboot threatened)\u003c/li>\n\u003cli>\u003cem>Gremlins\u003c/em>* (Sequeled in 1990)\u003c/li>\n\u003cli>\u003cem>The Karate Kid\u003c/em> (Sequels '86, '89, '94, remade 2010)\u003c/li>\n\u003cli>\u003cem>Police Academy\u003c/em> (Sequels '85, '86, '87, '88, '89, '94)\u003c/li>\n\u003cli>\u003cem>Footloose\u003c/em> (remade 2011)\u003c/li>\n\u003cli>\u003cem>Romancing the Stone\u003c/em> (Sequeled 1985)\u003c/li>\n\u003cli>\u003cem>Star Trek III: The Search for Spock\u003c/em> (Sequels '86, '89, '91, '94, rebooted 2009)\u003c/li>\n\u003cli>\u003cem>Splash\u003c/em>*\u003c/li>\n\u003c/ol>\n\u003cp>\u003cem>*\u003c/em>Numbers 11 and 12 were \u003cem>Purple Rain\u003c/em> and \u003cem>Amadeus\u003c/em>, respectively. Their principal creators, Prince and the playwright Peter Shaffer, both died just this year. Number 15 was \u003cem>Greystoke: The Legend of Tarzan\u003c/em>, \u003cem>Lord of the Apes\u003c/em>, another property we're \u003ca href=\"http://www.npr.org/2016/07/01/483702536/can-you-really-rebuild-tarzan-out-of-whole-loin-cloth\">still monkeying around with\u003c/a>.\u003c/p>\n\u003cp>While nine of these films would spawn theatrically-released sequels — hell, \u003cem>Police Academy\u003c/em> and \u003cem>Romancing the Stone\u003c/em> had quickie follow-ups out the following year — only two of them \u003cem>were\u003c/em> sequels. (\u003cem>Temple of Doom\u003c/em> was technically a \u003cem>prequel\u003c/em> to 1981's \u003cem>Raiders of the Lost Ark, \u003c/em>but whatever.) Four of the top five were original concepts.\u003c/p>\n\u003cp>That wasn't unusual at the time. 1983's Top 10 contained four sequels/franchise installments: \u003cem>The Return of the Jedi\u003c/em> at Number 1; the Roger-Moore-in-clown-makeup James Bond flick \u003cem>Octopussy\u003c/em> at Number 6; \u003cem>Sudden Impact,\u003c/em> the third sequel to \u003cem>Dirty Harry, \u003c/em>at Number 7; and \u003cem>Staying Alive,\u003c/em> a follow-up to \u003cem>Saturday Night Fever\u003c/em> written and directed by Sylvester Stallone because \u003cem>sure,\u003c/em> at Number 8.\u003c/p>\n\u003cp>The remainder of the lushly exploitable IP in 1983's Top Ten has been left alone, mostly. 1983's No. 2 movie, the Best Picture-winning \u003cem>Terms of Endearment, \u003c/em>got an unlikely sequel. It was called \u003cem>The Evening Star,\u003c/em> and it was one of the most bruising belly-flops of 1996, failing to crack that year's Top 100. Like \u003cem>Terms of Endearment, The Evening Star \u003c/em>was adapted from a Larry McMurty novel.\u003c/p>\n\u003cp>But there was no follow-up to 1983's far likelier candidates for the Electric Boogalo treatment: not \u003cem>Flashdance, \u003c/em>the year's Number 3 hit, nor \u003cem>Trading Places\u003c/em> (Number 4) nor \u003cem>WarGames\u003c/em> (Number 5) nor \u003cem>Risky Business \u003c/em>(Number 10). Compared to '83, 1984's biggest hits were simply easier to franchise.\u003c/p>\n\u003cp>(Wait, sorry, I'm receiving new information that a direct-to-DVD sequel entitled \u003cem>WarGames: The Dead Code, \u003c/em>directed by and starring no one you've ever heard of, sought to capitalize on \u003cem>WarGames' \u003c/em>massive Reagan-era cache in... 2008. What did we say about DTV releases? They don't count. Moving on.)\u003c/p>\n\u003cp>\u003cstrong>Johnny '85 Is Alive\u003c/strong>\u003c/p>\n\u003cp>But enough of 1984's past, let's get back... to the future! 1985's box office champ, \u003cem>Back to the Future,\u003c/em> towered over its closest competition by a cool $60 million. In the Number 2 and 3 positions we get \u003cem>Rambo: First Blood Part II\u003c/em> and \u003cem>Rocky IV, \u003c/em>respectively. Clearly, Sly did not let the poor reviews of \u003cem>Staying Alive\u003c/em> get him down — \"It's not even as good as \u003cem>Flashdance,\" \u003c/em>Roger Ebert \u003ca href=\"http://www.rogerebert.com/reviews/staying-alive-1983\">wrote\u003c/a> — because '85 was indisputably \u003cem>his year.\u003c/em>\u003c/p>\n\u003cp>Well, his and Phil Collins'.\u003c/p>\n\u003cp>But after those three, 1985's Top Ten opened up to accommodate plenty of serious, and as yet, un-remade, fare: \u003cem>The Color Purple \u003c/em>(adapted from Alice Walker's novel, and now the basis for a Broadway musical that could well become a movie); \u003cem>Out of Africa \u003c/em>(adapted from Karen Blixen's memoir); and \u003cem>Witness, \u003c/em>which actually won the Academy Award for Best Original Screenplay.\u003c/p>\n\u003cp>It also included\u003cem> The Goonies \u003c/em>and\u003cem> Spies Like Us, \u003c/em>both of which seem eminently remakeable, but for whatever reason have not been.\u003c/p>\n\u003cp>The 80s ran themselves out in similar fashion. In each year, sequels or adaptations of preexisting material were the exceptions in the Top Ten rather than the rule. Until, that is, 1989, when the top earners included the long-in-development \u003cem>Batman, Indiana Jones and the Last Crusade, Lethal Weapon 2, \u003c/em>and\u003cem> Back to the Future Part II. \u003c/em>Oh, and one other sequel, less inspired than any of those: \u003cem>Ghostbusters II.\u003c/em>\u003c/p>\n\u003cp>But 1989 was an anomaly. Five years later, the ratio of new material to old in the Top Ten was far smaller than it had been a decade earlier, but still healthier than today. The biggest hit of 1994's was a Best Picture-winning adaptation of Winston Groom's novel \u003cem>Forrest Gump. \u003c/em>Number 2 was \u003cem>The Lion King — Hamlet\u003c/em> for kids, but we'll still count it as an original. Number 3, the action comedy \u003cem>True Lies, \u003c/em>was in fact a pumped-up remake of a French farce called \u003cem>La Totale!,\u003c/em> but this was probably not one of the key factors that persuaded millions of patriotic Americans to buy a ticket for a James Cameron-directed Arnold Schwarzenegger movie.\u003c/p>\n\u003cp>Also in the Top 10: \u003cem>Clear and Present Danger\u003c/em> (based on a Tom Clancy novel,), \u003cem>The Flintstones\u003c/em> (based on a Hanna-Barbera cartoon), and \u003cem>The Mask\u003c/em> (based on a comic book). Squeaking in at Number 10 was a wildly energetic and unpredictable crime picture, one that exuded originality from every pore --despite taking its title from a genre where formulaic plots and stock characters are celebrated. It was called \u003cem>Pulp Fiction.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Millennium Approaches: Sequels, Adaptations, Passion Plays\u003c/strong>\u003c/p>\n\u003cp>On the other side of the millennium, innovation waned. The biggest hits of 2004 were \u003cem>Shrek 2 \u003c/em>and \u003cem>Spider-Man 2, \u003c/em>followed by Mel Gibson's \u003cem>The Passion of the Christ, \u003c/em>which was, you know, based on preexisting material, if not exactly in the same way that \u003cem>Meet the Fockers \u003c/em>was.\u003c/p>\n\u003cp>There were still a few \"originals,\" however derivative, in the Top Ten: The Roland Emmerich bad-weather thriller \u003cem>The Day After Tomorrow\u003c/em>. \u003cem>National Treasure.\u003c/em> Brad Bird's wonderful Pixar superhero movie \u003cem>The Incredibles. \u003c/em>And when the franchise entries were as strong as \u003cem>Spider-Man 2\u003c/em> (Number 2), \u003cem>Harry Potter and the Prisoner of Azkaban \u003c/em>(Number 4), and \u003cem>The Bourne Supremacy\u003c/em> (Number 8), who was going to complain?\u003c/p>\n\u003cp>By 2014, there was \u003cem>nothing\u003c/em> not extrapolated from a preexisting movie or comic book or Navy SEAL's memoir in the Top Ten.\u003cem> (American Sniper \u003c/em>became the first R-rated movie to win its year since\u003cem> Saving Private Ryan \u003c/em>16 years earlier.) Unless of course you want to count \u003cem>Maleficent, \u003c/em>a reframing of \u003cem>Sleeping Beauty,\u003c/em> or \u003cem>The Lego Movie\u003c/em>, which was of course adapted from a set of molded plastic blocks that hurt when you step on them barefoot.\u003c/p>\n\u003cp>We got our first glimpse of this state of affairs 32 years ago now, in that year Orwell warned us about. We weren't afraid of no ghosts, but maybe we should have been. These days, they're pretty much all all we get.\u003c/p>\n\u003cp>And yet: when our franchise entries are as strong as \u003ca href=\"http://www.npr.org/2015/05/14/406009465/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2015/11/25/457130828/vital-and-tear-jerking-creed-is-the-best-rocky-movie-since-rocky\">\u003cem>Creed\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/sections/monkeysee/2015/12/18/460001132/pop-culture-happy-hour-star-wars-the-force-awakens-and-toys\">\u003cem>Star Wars: The Force Awakens\u003c/em>\u003c/a> and \u003ca href=\"http://www.npr.org/2016/05/06/476490464/captain-america-civil-war-is-the-mightiest-marvel-movie\">\u003cem>Captain America: Civil War\u003c/em>\u003c/a>\u003cem>, \u003c/em>who's going to complain? Not me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But... maybe go see \u003cem>The Lobster,\u003c/em> too, would you?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=1984%3A+The+Year+We+Unwittingly+Stopped+Watching+Movies+And+Started+Watching+Franchises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My husband has a gag record called “What I Like About Jew,” which he now plays exclusively on Jewish holidays. One track features a pop culture-garbled recounting of Jewish history that wickedly sums up the format of holiday celebrations thus: “They tried to kill us. We survived. Let’s eat.” This funny and apt conflation of food and history came to mind while I watched Roger Sherman’s new documentary, \u003cem>In Search of Israeli Cuisine\u003c/em>. The film follows Pittsburgh-based, James Beard award-winning chef Michael Solomonov as he travels the length and breadth of Israel trying to nail down a definition of a food influenced by a diaspora that spanned the former Soviet Union, Europe, the Middle East and beyond.\u003c/p>\n\u003cp>\u003cem>In Search of Israeli Cuisine\u003c/em> is one of three food-related films featured at this year’s San Francisco Jewish Film Festival, which runs July 21 through August 7, 2016 at locations across the Bay. The others stick to subjects that are obvious, matzo, and fascinatingly controversial, hummus. All three films are really fun and enlightening, each in its own way. \u003c/p>\n\u003cp>https://youtu.be/mv_f11Ukz-I\u003c/p>\n\u003cp>My favorite by far is \u003cem>In Search of Israeli Cuisine\u003c/em>, mostly because it contains so many twists as Solomonov delves deep into Jewish cooking traditions and the fascinating histories with which they are freighted. He notes the country itself is the size of New Jersey but contains multitudes: a long coastline, a mountainous region, the desert, a religious capital and a secular center. Israel somehow brings together the contradictory impulses of old and new within its food, the observations of ancient traditions and practices alongside the fusion of ingredients, spices and techniques from around the world. \u003c/p>\n\u003cp>The film visits world-class chefs in gorgeous settings who are serving up fresh local ingredients to an appreciative population. Interestingly, the country's food boom has only occurred within the last few decades. Many of the chefs interviewed attribute this to survivor guilt, but it may also be a function of newfound affluence. Food as a lifestyle is a recent luxury and modern Israelis are working hard to reverse some of the practices and misconceptions about food (and wine) that formed during the country's infancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Israel has both an ancient history and a short one. The Jewish culture, alongside the Arabs, can be regionally traced back to the beginning of recorded history, while the state is only in its late sixties. That recent history is infused with a peasant mentality imported from the old world that the population is struggling to shed. Naturally, the transported culture was powerfully connected to food, its ingredients, traditions, preparation and signification. \u003c/p>\n\u003cp>In a scant ninety-seven minutes, Sherman and Solomonov unpack a whole range of messy and fascinating truths about food in general and the Israeli relationship to it in particular. Every piece of food Solomonov puts into his mouth comes with a complex backstory often involving family, history, tradition and struggle. \u003c/p>\n\u003cp>Most chefs cite their grandmothers as their leading influence, crediting their decision to cook for others to a nostalgia for the comforting tastes of their youth. A great question then is what happens in the kitchen when Moroccan and Polish Jews marry? When a Jew whose grandmother grew up in Europe joins forces with one whose family emigrated from Iraq? Ashkenazi dishes, spices (or the apparent lack thereof) and ingredients go head to head with the items and practices found in a Sephardic kitchen. And along with this comes controversy. Many of the dishes that are considered as necessarily central to any definition of Israeli cuisine are also powerfully connected to Arab traditions. \u003c/p>\n\u003cp>Not the least of which is hummus. I love the tagline for \u003cem>Hummus! The Movie\u003c/em>: \"It unites. It divides. It's delicious.\" That pretty much captures the film's irreverent tone and the array of colorful characters it lovingly captures. Centered on three chefs from three different regions of Israel, \u003cem>Hummus!\u003c/em> tells their personal stories intimately with a loving humor. My favorite character is Suheila Al Hindi, a Muslim woman who devoted her life to the family restaurant following the death of her father. She exhibits a quiet confidence while cooking that you can tell flavors her hummus with care and makes her restaurant a popular destination. \u003c/p>\n\u003cp>https://youtu.be/uMNQ7poN3JQ\u003c/p>\n\u003cp>We also follow Jalil Dabit, a restaurateur who is going through a life-defining transition trying to modernize his father's business and strike out on his own. \u003c/p>\n\u003cp>The most colorful characters appear in Eliyahu Shmueli's story. A tattoo-covered vagabond, Shmueli struggles to keep his restaurant kosher and studies martial arts under the tutelage of a Jamaican-born black belt and hip hop musician who is famous for a rap about how \"hummus makes you stupid.\" Oh, and there is also an order of Benedictine monks and a contest with Lebanon to produce the world's largest plate of hummus.\u003c/p>\n\u003cp>https://youtu.be/IAPN6yXFlkA\u003c/p>\n\u003cp>Finally, \u003cem>Streit's Matzo and the American Dream\u003c/em> tells the story of a matzo factory located on New York City's Lower East Side since 1925. The factory and the business have remained in the Streit family for generations, though the film chronicles its recent battle with the brutal forces of Manhattan gentrification. There is a fascinating section in the center of this film that shows how special ovens built specifically for the factory are believed to contribute to the Streit brand's unique flavor. The building, located on Rivington street, was formed from the joining of two tenements. The ovens were built in place to fit the space. We see how assiduously these aging pieces of vital equipment are monitored to control the bread's color and crispness. While considering their limited options as the ovens begin to fail (new parts are unavailable and must be specially tooled at great cost), the remaining family members worry that relocating their business will also mean losing their distinctive taste. They also fear they will lose the workforce that has produced a quality product for, in most cases, the last forty years. \u003c/p>\n\u003cp>This is a lovely portrait of a dying breed, the family business in the age of the global conglomerate.\u003c/p>\n\u003cp>And I didn't even get to tell you about the most interesting thing I learned about ancient Nabatene practices for capturing flood waters in the desert. I guess you will have to go and see these films for yourself. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The San Francisco Jewish Film Festival opens Thursday, July 21 at the Castro Theatre with Daniel Burman's romantic comedy, \u003cem>The Tenth Man\u003c/em> and runs through August 7, 2016 at various Bay Area locations. For tickets and information, visit \u003ca href=\"http://sfjff36.jfi.org/\" target=\"_blank\">sfjff36.jfi.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My husband has a gag record called “What I Like About Jew,” which he now plays exclusively on Jewish holidays. One track features a pop culture-garbled recounting of Jewish history that wickedly sums up the format of holiday celebrations thus: “They tried to kill us. We survived. Let’s eat.” This funny and apt conflation of food and history came to mind while I watched Roger Sherman’s new documentary, \u003cem>In Search of Israeli Cuisine\u003c/em>. The film follows Pittsburgh-based, James Beard award-winning chef Michael Solomonov as he travels the length and breadth of Israel trying to nail down a definition of a food influenced by a diaspora that spanned the former Soviet Union, Europe, the Middle East and beyond.\u003c/p>\n\u003cp>\u003cem>In Search of Israeli Cuisine\u003c/em> is one of three food-related films featured at this year’s San Francisco Jewish Film Festival, which runs July 21 through August 7, 2016 at locations across the Bay. The others stick to subjects that are obvious, matzo, and fascinatingly controversial, hummus. All three films are really fun and enlightening, each in its own way. \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/mv_f11Ukz-I'\n title='//www.youtube.com/embed/mv_f11Ukz-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>My favorite by far is \u003cem>In Search of Israeli Cuisine\u003c/em>, mostly because it contains so many twists as Solomonov delves deep into Jewish cooking traditions and the fascinating histories with which they are freighted. He notes the country itself is the size of New Jersey but contains multitudes: a long coastline, a mountainous region, the desert, a religious capital and a secular center. Israel somehow brings together the contradictory impulses of old and new within its food, the observations of ancient traditions and practices alongside the fusion of ingredients, spices and techniques from around the world. \u003c/p>\n\u003cp>The film visits world-class chefs in gorgeous settings who are serving up fresh local ingredients to an appreciative population. Interestingly, the country's food boom has only occurred within the last few decades. Many of the chefs interviewed attribute this to survivor guilt, but it may also be a function of newfound affluence. Food as a lifestyle is a recent luxury and modern Israelis are working hard to reverse some of the practices and misconceptions about food (and wine) that formed during the country's infancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Israel has both an ancient history and a short one. The Jewish culture, alongside the Arabs, can be regionally traced back to the beginning of recorded history, while the state is only in its late sixties. That recent history is infused with a peasant mentality imported from the old world that the population is struggling to shed. Naturally, the transported culture was powerfully connected to food, its ingredients, traditions, preparation and signification. \u003c/p>\n\u003cp>In a scant ninety-seven minutes, Sherman and Solomonov unpack a whole range of messy and fascinating truths about food in general and the Israeli relationship to it in particular. Every piece of food Solomonov puts into his mouth comes with a complex backstory often involving family, history, tradition and struggle. \u003c/p>\n\u003cp>Most chefs cite their grandmothers as their leading influence, crediting their decision to cook for others to a nostalgia for the comforting tastes of their youth. A great question then is what happens in the kitchen when Moroccan and Polish Jews marry? When a Jew whose grandmother grew up in Europe joins forces with one whose family emigrated from Iraq? Ashkenazi dishes, spices (or the apparent lack thereof) and ingredients go head to head with the items and practices found in a Sephardic kitchen. And along with this comes controversy. Many of the dishes that are considered as necessarily central to any definition of Israeli cuisine are also powerfully connected to Arab traditions. \u003c/p>\n\u003cp>Not the least of which is hummus. I love the tagline for \u003cem>Hummus! The Movie\u003c/em>: \"It unites. It divides. It's delicious.\" That pretty much captures the film's irreverent tone and the array of colorful characters it lovingly captures. Centered on three chefs from three different regions of Israel, \u003cem>Hummus!\u003c/em> tells their personal stories intimately with a loving humor. My favorite character is Suheila Al Hindi, a Muslim woman who devoted her life to the family restaurant following the death of her father. She exhibits a quiet confidence while cooking that you can tell flavors her hummus with care and makes her restaurant a popular destination. \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/uMNQ7poN3JQ'\n title='//www.youtube.com/embed/uMNQ7poN3JQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We also follow Jalil Dabit, a restaurateur who is going through a life-defining transition trying to modernize his father's business and strike out on his own. \u003c/p>\n\u003cp>The most colorful characters appear in Eliyahu Shmueli's story. A tattoo-covered vagabond, Shmueli struggles to keep his restaurant kosher and studies martial arts under the tutelage of a Jamaican-born black belt and hip hop musician who is famous for a rap about how \"hummus makes you stupid.\" Oh, and there is also an order of Benedictine monks and a contest with Lebanon to produce the world's largest plate of hummus.\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/IAPN6yXFlkA'\n title='//www.youtube.com/embed/IAPN6yXFlkA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Finally, \u003cem>Streit's Matzo and the American Dream\u003c/em> tells the story of a matzo factory located on New York City's Lower East Side since 1925. The factory and the business have remained in the Streit family for generations, though the film chronicles its recent battle with the brutal forces of Manhattan gentrification. There is a fascinating section in the center of this film that shows how special ovens built specifically for the factory are believed to contribute to the Streit brand's unique flavor. The building, located on Rivington street, was formed from the joining of two tenements. The ovens were built in place to fit the space. We see how assiduously these aging pieces of vital equipment are monitored to control the bread's color and crispness. While considering their limited options as the ovens begin to fail (new parts are unavailable and must be specially tooled at great cost), the remaining family members worry that relocating their business will also mean losing their distinctive taste. They also fear they will lose the workforce that has produced a quality product for, in most cases, the last forty years. \u003c/p>\n\u003cp>This is a lovely portrait of a dying breed, the family business in the age of the global conglomerate.\u003c/p>\n\u003cp>And I didn't even get to tell you about the most interesting thing I learned about ancient Nabatene practices for capturing flood waters in the desert. I guess you will have to go and see these films for yourself. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The San Francisco Jewish Film Festival opens Thursday, July 21 at the Castro Theatre with Daniel Burman's romantic comedy, \u003cem>The Tenth Man\u003c/em> and runs through August 7, 2016 at various Bay Area locations. For tickets and information, visit \u003ca href=\"http://sfjff36.jfi.org/\" target=\"_blank\">sfjff36.jfi.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Way back in the early aughts, director Justin Lin (of future \u003ci>The Fast and the Furious\u003c/i> franchise fame) proved Asian American actors (including John Cho and Sung Kang) could play more than side characters with a line or two in the background — and that a film revolving around a group of Orange County Asian American high schoolers could be about more than high-achieving students with their eyes set on the Ivy League prize. \u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.betterlucktomorrow.com/\">Better Luck Tomorrow\u003c/a>\u003c/i>, about bright, bored teenagers spiraling down a path from petty to serious crime was tough, violent and totally great. Roger Ebert went to bat for it in \u003ca href=\"https://www.youtube.com/watch?v=LSzP9YV3jbc\">a well-publicized outburst at the 2002 Sundance Film Festival\u003c/a>. MTV Films made it their first acquisition. Produced on an indie budget of $250,000, it grossed $3.8 million at the box office.\u003c/p>\n\u003cfigure id=\"attachment_11815373\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/chow640.jpg\" alt=\"Hee Jun Han (center) as Chow.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11815373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hee Jun Han (center) as Chow. \u003ccite>(Courtesy of 'Seoul Searching.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bypassing the 13 years in which \u003ci>Better Luck Tomorrow\u003c/i> became not a sign of the on-screen diversity to come, but a fondly-remembered fluke, and we arrive at \u003ci>\u003ca href=\"http://www.seoulsearchingthemovie.com/#seoul-searching-1\">Seoul Searching\u003c/a>\u003c/i>, filmmaker Benson Lee’s love letter to the John Hughes dramedies of his youth, replacing suburban Illinois with Seoul, South Korea. \u003c/p>\n\u003cp>While Hughes got a lot of things right about teenagerdom in the ’80s — ardent emotions, lingo, kick-ass tunes — Lee always bristled at his idol’s treatment of Asian characters, epitomized by \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe’s portrayal of “Long Duk Dong,”\u003c/a> the clumsy, horny foreign exchange student from an unidentified Asian land. As a gleefully retroactive corrective, \u003ci>Seoul Searching\u003c/i> depicts foreign exchange of a different kind: a camp where teenagers of Korean ancestry gather for a government-sponsored cultural heritage program. Think Birthright, but in 1986 Seoul.\u003c/p>\n\u003cp>To their benefit, the character types in \u003ci>Seoul Searching\u003c/i> are a bit more complex than \u003ci>The Breakfast Club\u003c/i>’s brain, beauty, jock, rebel and recluse. There’s a punk kid from Southern California, a fun-loving Mexican Korean lothario, a sensitive German Korean yuppie, a combative tomboy and three gold-chain-wearing rapper hopefuls, among others. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fashionably retro, with a soundtrack that hits all the favorite notes, \u003ci>Seoul Searching\u003c/i> is ostensibly about identifying “what it means to be Korean” for each of the camp’s participants, but it’s also a familiar tale of teenage adventure and attraction. Most of the pairings-off that materialize by the film’s close are telegraphed loud and clear in the opening introductions, but the swelling chords of Modern English’s “I Melt With You” still manage to make those scenes somewhat satisfying, despite their inevitability.\u003c/p>\n\u003cfigure id=\"attachment_11815377\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/sergio640.jpg\" alt=\"Esteban Ahn as Sergio Kim.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11815377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Ahn as Sergio Kim. \u003ccite>(Courtesy of 'Seoul Searching')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the cross-cultural lessons to be learned (one Korean American character struggles to understand that there could be Korean immigrants in other countries), \u003ci>Seoul Searching\u003c/i> features multiple characters grappling with strained or nonexistent relationships to their immigrant parents. Distant or physically abusive fathers appear again and again in individual characters’ backstories, often serving as topics of mutual understanding for the teenagers’ budding romantic entanglements.\u003c/p>\n\u003cp>Bouncing haphazardly between moments of lighthearted rebellion and melodramatic confrontations, \u003ci>Seoul Searching\u003c/i> is at its best with a storyline that emerges between aspiring yuppie Klaus and Kris, a Korean American girl raised by adoptive white parents in Middle America. Klaus becomes her confidant and translator in Kris’ search for her birth mother, a reunion that provides not insignificant tugs on the ol’ heartstrings.\u003c/p>\n\u003cp>That opening reference to \u003ci>Better Luck Tomorrow\u003c/i> doesn’t come out of thin air. Lee himself proclaims \u003ci>Seoul Searching\u003c/i> is the first Asian American film showing in U.S. theaters since Lin’s 2003 debut. As an inheritor of Lin’s legacy, Benson does expand understandings of the Asian experience to a global Korean diaspora, but he doesn’t have the same success with his craft. \u003ci>Seoul Searching\u003c/i> is charming and heartfelt, but between sound-effect-laden cuts and hastily-resolved plot holes, more than \u003ci>Sixteen Candles\u003c/i>, it resembles a much better version of the ensemble films currently taking our holidays by storm (see, but don’t see: \u003ci>\u003ca href=\"https://www.rottentomatoes.com/m/771422158/?search=mother%27s%20day\">Mother’s Day\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://www.rottentomatoes.com/m/mothers_and_daughters_2016/\">Mothers and Daughters\u003c/a>\u003c/i>). \u003c/p>\n\u003cp>If Hollywood can find the market to release two movies associated with one of the calendar’s lesser holidays (what’s next, Flag Day?), we shouldn’t have to wait another 13 years for a film that puts Asian characters front and center.\u003c/p>\n\u003cp>https://youtu.be/j6jGNtql0YQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Seoul Searching’ opens Friday, July 15 at the Roxie Theater in San Francisco. For tickets and more information, visit \u003ca href=\"http://www.roxie.com/ai1ec_event/seoul-searching/?instance_id=\">roxie.com\u003c/a>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Way back in the early aughts, director Justin Lin (of future \u003ci>The Fast and the Furious\u003c/i> franchise fame) proved Asian American actors (including John Cho and Sung Kang) could play more than side characters with a line or two in the background — and that a film revolving around a group of Orange County Asian American high schoolers could be about more than high-achieving students with their eyes set on the Ivy League prize. \u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.betterlucktomorrow.com/\">Better Luck Tomorrow\u003c/a>\u003c/i>, about bright, bored teenagers spiraling down a path from petty to serious crime was tough, violent and totally great. Roger Ebert went to bat for it in \u003ca href=\"https://www.youtube.com/watch?v=LSzP9YV3jbc\">a well-publicized outburst at the 2002 Sundance Film Festival\u003c/a>. MTV Films made it their first acquisition. Produced on an indie budget of $250,000, it grossed $3.8 million at the box office.\u003c/p>\n\u003cfigure id=\"attachment_11815373\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/chow640.jpg\" alt=\"Hee Jun Han (center) as Chow.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11815373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/chow640-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hee Jun Han (center) as Chow. \u003ccite>(Courtesy of 'Seoul Searching.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bypassing the 13 years in which \u003ci>Better Luck Tomorrow\u003c/i> became not a sign of the on-screen diversity to come, but a fondly-remembered fluke, and we arrive at \u003ci>\u003ca href=\"http://www.seoulsearchingthemovie.com/#seoul-searching-1\">Seoul Searching\u003c/a>\u003c/i>, filmmaker Benson Lee’s love letter to the John Hughes dramedies of his youth, replacing suburban Illinois with Seoul, South Korea. \u003c/p>\n\u003cp>While Hughes got a lot of things right about teenagerdom in the ’80s — ardent emotions, lingo, kick-ass tunes — Lee always bristled at his idol’s treatment of Asian characters, epitomized by \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe’s portrayal of “Long Duk Dong,”\u003c/a> the clumsy, horny foreign exchange student from an unidentified Asian land. As a gleefully retroactive corrective, \u003ci>Seoul Searching\u003c/i> depicts foreign exchange of a different kind: a camp where teenagers of Korean ancestry gather for a government-sponsored cultural heritage program. Think Birthright, but in 1986 Seoul.\u003c/p>\n\u003cp>To their benefit, the character types in \u003ci>Seoul Searching\u003c/i> are a bit more complex than \u003ci>The Breakfast Club\u003c/i>’s brain, beauty, jock, rebel and recluse. There’s a punk kid from Southern California, a fun-loving Mexican Korean lothario, a sensitive German Korean yuppie, a combative tomboy and three gold-chain-wearing rapper hopefuls, among others. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fashionably retro, with a soundtrack that hits all the favorite notes, \u003ci>Seoul Searching\u003c/i> is ostensibly about identifying “what it means to be Korean” for each of the camp’s participants, but it’s also a familiar tale of teenage adventure and attraction. Most of the pairings-off that materialize by the film’s close are telegraphed loud and clear in the opening introductions, but the swelling chords of Modern English’s “I Melt With You” still manage to make those scenes somewhat satisfying, despite their inevitability.\u003c/p>\n\u003cfigure id=\"attachment_11815377\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/sergio640.jpg\" alt=\"Esteban Ahn as Sergio Kim.\" width=\"640\" height=\"640\" class=\"size-full wp-image-11815377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/sergio640-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Ahn as Sergio Kim. \u003ccite>(Courtesy of 'Seoul Searching')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beyond the cross-cultural lessons to be learned (one Korean American character struggles to understand that there could be Korean immigrants in other countries), \u003ci>Seoul Searching\u003c/i> features multiple characters grappling with strained or nonexistent relationships to their immigrant parents. Distant or physically abusive fathers appear again and again in individual characters’ backstories, often serving as topics of mutual understanding for the teenagers’ budding romantic entanglements.\u003c/p>\n\u003cp>Bouncing haphazardly between moments of lighthearted rebellion and melodramatic confrontations, \u003ci>Seoul Searching\u003c/i> is at its best with a storyline that emerges between aspiring yuppie Klaus and Kris, a Korean American girl raised by adoptive white parents in Middle America. Klaus becomes her confidant and translator in Kris’ search for her birth mother, a reunion that provides not insignificant tugs on the ol’ heartstrings.\u003c/p>\n\u003cp>That opening reference to \u003ci>Better Luck Tomorrow\u003c/i> doesn’t come out of thin air. Lee himself proclaims \u003ci>Seoul Searching\u003c/i> is the first Asian American film showing in U.S. theaters since Lin’s 2003 debut. As an inheritor of Lin’s legacy, Benson does expand understandings of the Asian experience to a global Korean diaspora, but he doesn’t have the same success with his craft. \u003ci>Seoul Searching\u003c/i> is charming and heartfelt, but between sound-effect-laden cuts and hastily-resolved plot holes, more than \u003ci>Sixteen Candles\u003c/i>, it resembles a much better version of the ensemble films currently taking our holidays by storm (see, but don’t see: \u003ci>\u003ca href=\"https://www.rottentomatoes.com/m/771422158/?search=mother%27s%20day\">Mother’s Day\u003c/a>\u003c/i> and \u003ci>\u003ca href=\"https://www.rottentomatoes.com/m/mothers_and_daughters_2016/\">Mothers and Daughters\u003c/a>\u003c/i>). \u003c/p>\n\u003cp>If Hollywood can find the market to release two movies associated with one of the calendar’s lesser holidays (what’s next, Flag Day?), we shouldn’t have to wait another 13 years for a film that puts Asian characters front and center.\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/j6jGNtql0YQ'\n title='//www.youtube.com/embed/j6jGNtql0YQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Seoul Searching’ opens Friday, July 15 at the Roxie Theater in San Francisco. For tickets and more information, visit \u003ca href=\"http://www.roxie.com/ai1ec_event/seoul-searching/?instance_id=\">roxie.com\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jennifer Aniston is one of those celebrities who provokes endless speculation not because of her outlandish debutante-like behavior, but because of her seeming normality: She's drop-dead gorgeous and fabulously wealthy, yes, but she's also something of a permanent girl next door. She got famous on one of America's most beloved sitcoms, for starters. And then there's her role in the celebrity love triangle that rocked the mid-aughts -- she the jilted good girl to Angelina Jolie's edgy, black swan temptress.\u003c/p>\n\u003cp>This is all, of course, utter bullsh*t perpetrated mostly by tabloids' bottom lines. It does, however, provide some context for why the media has been fixated since time immemorial on whether or not Jennifer Aniston\u003ca href=\"http://www.intouchweekly.com/posts/jennifer-aniston-pregnant-105227\" target=\"_blank\"> is pregnant\u003c/a>, thinking about becoming pregnant, \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2313617/Jennifer-Aniston-relying-cupping-boost-fertility.html\" target=\"_blank\">sad that she is not pregnant\u003c/a>, or some variation thereof. It's your nagging Aunt Gertie reminding you over the phone from Florida that you're not getting any younger, you know -- only on a world stage. Seems fun!\u003c/p>\n\u003cp>https://twitter.com/KateHarding/status/743152115770597379\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Well, she's apparently had enough. \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">Aniston just penned an open letter in the \u003c/a>\u003cem>Huffington Post\u003c/em> decrying the media's objectification of women, alongside journalists' fixation on her childfree existence and when it will end.\u003c/p>\n\u003cblockquote>\u003cp>If I am some kind of symbol to some people out there, then clearly I am an example of the lens through which we, as a society, view our mothers, daughters, sisters, wives, female friends and colleagues. The objectification and scrutiny we put women through is absurd and disturbing. The way I am portrayed by the media is simply a reflection of how we see and portray women in general, measured against some warped standard of beauty. ...\u003c/p>\n\u003cp>The message that girls are not pretty unless they’re incredibly thin, that they’re not worthy of our attention unless they look like a supermodel or an actress on the cover of a magazine is something we’re all willingly buying into. This conditioning is something girls then carry into womanhood. We use celebrity “news” to perpetuate this dehumanizing view of females, focused solely on one’s physical appearance, which tabloids turn into a sporting event of speculation. Is she pregnant? Is she eating too much? Has she let herself go? Is her marriage on the rocks because the camera detects some physical “imperfection”?\u003c/p>\u003c/blockquote>\n\u003cp>And:\u003c/p>\n\u003cblockquote>\u003cp>I have grown tired of being part of this narrative. Yes, I may become a mother some day, and since I’m laying it all out there, if I ever do, I will be the first to let you know. But I’m not in pursuit of motherhood because I feel incomplete in some way, as our celebrity news culture would lead us all to believe. I resent being made to feel “less than” because my body is changing and/or I had a burger for lunch and was photographed from a weird angle and therefore deemed one of two things: “pregnant” or “fat.”\u003c/p>\u003c/blockquote>\n\u003cp>If you've ever spent five minutes reading an \u003cem>Us Weekly\u003c/em> \"article\" featuring photos of Aniston or another celebrity with circles drawn over their body parts, take five minutes and \u003ca href=\"http://www.huffingtonpost.com/entry/for-the-record_us_57855586e4b03fc3ee4e626f\" target=\"_blank\">read the whole thing here.\u003c/a> All in all, it's a compelling yet (sorry) highly relatable message for Aniston to send.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Truth be told, the only thing I find to be slightly off the mark in this piece is the implication that she ever eats burgers for lunch. Sorry, Jen. Otherwise: Go on with your bad (gorgeous, 47-year-old) self. I'm not holding my breath, but Aunt Gertie really should find a better hobby.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jennifer Aniston is one of those celebrities who provokes endless speculation not because of her outlandish debutante-like behavior, but because of her seeming normality: She's drop-dead gorgeous and fabulously wealthy, yes, but she's also something of a permanent girl next door. She got famous on one of America's most beloved sitcoms, for starters. And then there's her role in the celebrity love triangle that rocked the mid-aughts -- she the jilted good girl to Angelina Jolie's edgy, black swan temptress.\u003c/p>\n\u003cp>This is all, of course, utter bullsh*t perpetrated mostly by tabloids' bottom lines. It does, however, provide some context for why the media has been fixated since time immemorial on whether or not Jennifer Aniston\u003ca href=\"http://www.intouchweekly.com/posts/jennifer-aniston-pregnant-105227\" target=\"_blank\"> is pregnant\u003c/a>, thinking about becoming pregnant, \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-2313617/Jennifer-Aniston-relying-cupping-boost-fertility.html\" target=\"_blank\">sad that she is not pregnant\u003c/a>, or some variation thereof. It's your nagging Aunt Gertie reminding you over the phone from Florida that you're not getting any younger, you know -- only on a world stage. Seems fun!\u003c/p>\u003c/p>\u003c/div>",
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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\u003cfigure id=\"attachment_11802410\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/LolitaCourtSony.jpg\" alt=\"Still from 'Lolita.'\" width=\"640\" height=\"493\" class=\"size-full wp-image-11802410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/LolitaCourtSony.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/LolitaCourtSony-400x308.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Lolita.’ \u003ccite>(Courtesy of Sony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.ybca.org/whats-on/kubrick\" target=\"_blank\" rel=\"noopener\">Kubrick in Black and White\u003c/a>\u003c/h3>\n\u003ch5>July 15 – 31\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\nTickets: $8-10\u003c/h5>\n\u003cp>If you first encountered Stanley Kubrick later in his career, with \u003cem>The Shining\u003c/em>, \u003cem>Full Metal Jacket\u003c/em> and (heaven forbid) \u003cem>Eyes Wide Shut\u003c/em>, you almost certainly sought out the groundbreaking, wildly ambitious films that made his reputation and shook the culture: \u003cem>A Clockwork Orange\u003c/em>, \u003cem>2001: A Space Odyssey\u003c/em> and the shockingly subversive black comedy \u003cem>Dr. Strangelove or: How I learned to Stop Worrying and Love the Bomb\u003c/em>. You might not have ventured as far back as Kubrick’s 1950s masterpieces, however. The YBCA series \u003ca href=\"http://www.ybca.org/whats-on/kubrick\" target=\"_blank\" rel=\"noopener\">Kubrick in Black and White\u003c/a>, programmed in conjunction with the Kubrick exhibition across Mission Street at the \u003ca href=\"http://www.thecjm.org/on-view/currently/stanley-kubrick-the-exhibition/about\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>, showcases clench-jawed Kirk Douglas in the wrenching World War I tragedy \u003cem>Paths of Glory\u003c/em> (July 15 and 17) and square-jawed Sterling Hayden as the brains behind a racetrack heist in \u003cem>The Killing\u003c/em> (July 16 and 17). Essential, powerhouse cinema.\u003c/p>\n\u003cfigure id=\"attachment_11802411\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/3-Women640.jpg\" alt=\"'3 Women.'\" width=\"640\" height=\"480\" class=\"size-full wp-image-11802411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3-Women640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3-Women640-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘3 Women.’ \u003ccite>(Courtesy of 20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Also…\u003c/h3>\n\u003cp>Not into all that male energy? Coincidentally, the Castro offers \u003ca href=\"http://www.castrotheatre.com/p-list.html\" target=\"_blank\" rel=\"noopener\">a double bill on July 13\u003c/a> of two of the most sensitive and empathetic portraits of women ever made by male directors not named Wyler or Sirk. Robert Altman’s \u003cem>3 Women\u003c/em> (1977) pairs a young Sissy Spacek and Shelly Duvall in an enigmatic, disturbing riff on the roles that women adopt to get along in a male-oriented society, and the risks and rewards of reinventing one’s self. The same description applies, up to a point, to David Lynch’s twisty and deeply satisfying \u003cem>Mulholland Drive\u003c/em> (2001), starring Naomi Watts and Laura Harring. It’s worth noting that both films have open endings, like dreams, in contrast to the gritty early Kubricks. \u003c/p>\n\u003cp>https://youtu.be/9T-9jXV65Ts\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\u003c/p>\n\u003cp>https://youtu.be/tICv8QH3oM0\u003c/p>\n\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A wannabe-gangster foster kid develops an uneasy bond with a reluctant parental figure as they trek through the New Zealand bush in \u003cem>Hunt for the Wilderpeople\u003c/em>, a familiar sort of coming-of-age movie made more interesting by the uniqueness of its setting and its off-kilter Kiwi humor. The film has already broken box office records in its native New Zealand. It’s a bit too tame to catch fire here in the same way, however, despite writer-director Taika Waititi’s growing track record as a cult comedy hero.\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/tICv8QH3oM0'\n title='//www.youtube.com/embed/tICv8QH3oM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The mischief starts with Ricky (Julian Dennison), an overweight, undisciplined 13-year-old Maori boy who’s blazed through a series of foster homes and reached the end of the line. He’s taken under the wing of an older couple: Bella (Rima Te Wiata), who wins the young man over with unrelenting sweetness, and Hec (Sam Neill), who hunts critters in the woods and wants nothing to do with this obnoxious kid. At first, Hec’s position seems reasonable: Ricky is a poorly defined character, introduced to us as a little hellion who’s terrorized half the country before pulling an abrupt 180 in the first ten minutes and becoming a haiku-writing softie who’s only looking for love. When a series of events causes Ricky and Hec to set off into the wild, some slightly off-color male bonding ensues.\u003c/p>\n\u003cp>Neill makes for a pretty great crusty outcast, even if he isn’t given much to do beyond the broadest outlines of an outdoorsman persona. The chemistry between him and Dennison helps propel the story as the two are chased, \u003cem>The Fugitive\u003c/em>-style, by a relentless figure from social services played by the great Rachel House.\u003c/p>\n\u003cp>“I’m the Terminator, and you’re Sarah Connor,” she barks at Ricky from the other side of a gorge, in possibly the least threatening smack talk ever. Because the authorities suspect kidnapping or worse, Ricky and Hec are forced to stick it out in the bush, hunting for food as, back in civilization, their legend grows. (The film’s title comes from Ricky’s comment that he and Hec are engaged in a lengthy state of migration, like the wildebeest.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tonally, \u003cem>Wilderpeople\u003c/em> is more in line with Waititi’s earlier, character-based humorous narratives \u003cem>Boy and Eagle Vs. Shark\u003c/em> than his howlingly funny vampire mockumentary \u003cem>What We Do In The Shadows\u003c/em>. \u003cem>Shadows \u003c/em>was a laugh-delivery machine; this one, based on the children’s novel \u003cem>Wild Pork and Watercress\u003c/em> by New Zealand author Barry Crump, takes itself slightly more seriously. But there’s still a healthy dose of the familiar Kiwi deadpan we know from stuff like \u003cem>Flight of the Conchords\u003c/em> (which makes sense, as Waititi directed several episodes). Ricky names his dog “Tupac”, thinks every conflict should end in a blaze of gunfire, and is horrified when his sweet, dotty “aunt” suddenly whips out a bush knife and slaughters a deer. And Rhys Darby, a master of character-based comedy, gets a grade-A cameo as a nutty survivalist who’s terrified of filling out government forms.\u003c/p>\n\u003cp>There’s nothing new in Waititi’s treatment of characters like these, and the staging of more fast-paced moments — like a climactic, \u003cem>Mad Max\u003c/em>-style car chase — is too awkward to be exciting. But the film’s subject offers an ideal opportunity to bask in nice crane shots of the country’s untamed beauty. There’s something charming about a lo-fi approach to New Zealand after the last decade-plus of big-budget grandeur via the \u003cem>Lord of the Rings\u003c/em> and \u003cem>Hobbit\u003c/em> series. It reminds us that even when you’re not pretending the country is some glamorous magical kingdom—well, it still kind of is.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Waititi is next set to direct the third entry in Marvel’s \u003cem>Thor\u003c/em> films, a series of epically bland proportions that (even by Marvel standards) hasn’t been especially kind to any distinct directorial vision. But perhaps if we suddenly see the Norse God hunting wild boar in the woods, we’ll know something of the director’s individual spirit has prevailed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A judge on Thursday denied Bill Cosby’s bid to force his sex-assault accuser to testify before trial, ruling prosecutors worked within the law by using police statements as a stand-in for her at his preliminary hearing.\u003c/p>\n\u003cp>Cosby’s lawyers argued they should’ve been allowed to cross-examine accuser Andrea Constand at the May 24 hearing because her decade-old statements about the 2004 encounter raised more questions than it answered.\u003c/p>\n\u003cp>But Judge Steven T. O’Neill said that a 2013 change in state court rules cleared the way for prosecutors to use those statements and other evidence in lieu of forcing Constand to take the witness stand before trial.\u003c/p>\n\u003cp>Prosecutors applauded the judge’s decision.\u003c/p>\n\u003cp>“The defense operated around a mistaken belief that they had a right to confront the victim at this stage,” District Attorney Kevin Steele told reporters afterward. “They do not.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby’s lawyers said they’d appeal to the state Supreme Court, which is considering another case involving preliminary hearing testimony. They said the 78-year-old Cosby’s constitutional rights had been “trampled upon once again.”\u003c/p>\n\u003cp>The judge, as he ruled, said, “One side sees this as an efficient way to handle cases. The other sees it as a violation of due process.”\u003c/p>\n\u003cp>He seconded the findings of the judge in Cosby’s preliminary hearing, saying prosecutors had presented enough evidence to send the case to trial.\u003c/p>\n\u003cp>Cosby is charged with felony indecent assault and accused of drugging and molesting Constand at his suburban Philadelphia home.\u003c/p>\n\u003cp>Authorities reopened the case last year after learning he had acknowledged in a deposition that he had given Constand pills and then engaged in sex acts with her. They also considered the dozens of other women who have raised similar claims in the decade since Constand went to police in 2005.\u003c/p>\n\u003cp>“Justice has been delayed too long,” Steele said, adding: “If I was able to, I’d pick a jury tomorrow.”\u003c/p>\n\u003cp>Steele read excerpts from Cosby’s deposition in court and said his graphic description of the encounter shows “consciousness of guilt.”\u003c/p>\n\u003cp>Constand told police the drugs left her semiconscious and unable to move and her lawyers believe Cosby gave her something stronger than Benadryl.\u003c/p>\n\u003cp>Steele compared Cosby’s behavior with that of a date rapist who spikes a victim’s drink.\u003c/p>\n\u003cp>“She is not in a state that she is able to consent to any of this,” Steele said in court.\u003c/p>\n\u003cp>Cosby rubbed his hand on his face and leaned back in his chair, lightly rapping his wooden cane against the carpet as the hearing wore on. He chatted with an aide as he departed.\u003c/p>\n\u003cp>The man once known as America’s Dad for his beloved portrayal of Dr. Cliff Huxtable on his top-ranked 1980s TV show is fighting Constand and other accusers in civil court, where he has been sued for defamation.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\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>A judge on Thursday denied Bill Cosby’s bid to force his sex-assault accuser to testify before trial, ruling prosecutors worked within the law by using police statements as a stand-in for her at his preliminary hearing.\u003c/p>\n\u003cp>Cosby’s lawyers argued they should’ve been allowed to cross-examine accuser Andrea Constand at the May 24 hearing because her decade-old statements about the 2004 encounter raised more questions than it answered.\u003c/p>\n\u003cp>But Judge Steven T. O’Neill said that a 2013 change in state court rules cleared the way for prosecutors to use those statements and other evidence in lieu of forcing Constand to take the witness stand before trial.\u003c/p>\n\u003cp>Prosecutors applauded the judge’s decision.\u003c/p>\n\u003cp>“The defense operated around a mistaken belief that they had a right to confront the victim at this stage,” District Attorney Kevin Steele told reporters afterward. “They do not.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby’s lawyers said they’d appeal to the state Supreme Court, which is considering another case involving preliminary hearing testimony. They said the 78-year-old Cosby’s constitutional rights had been “trampled upon once again.”\u003c/p>\n\u003cp>The judge, as he ruled, said, “One side sees this as an efficient way to handle cases. The other sees it as a violation of due process.”\u003c/p>\n\u003cp>He seconded the findings of the judge in Cosby’s preliminary hearing, saying prosecutors had presented enough evidence to send the case to trial.\u003c/p>\n\u003cp>Cosby is charged with felony indecent assault and accused of drugging and molesting Constand at his suburban Philadelphia home.\u003c/p>\n\u003cp>Authorities reopened the case last year after learning he had acknowledged in a deposition that he had given Constand pills and then engaged in sex acts with her. They also considered the dozens of other women who have raised similar claims in the decade since Constand went to police in 2005.\u003c/p>\n\u003cp>“Justice has been delayed too long,” Steele said, adding: “If I was able to, I’d pick a jury tomorrow.”\u003c/p>\n\u003cp>Steele read excerpts from Cosby’s deposition in court and said his graphic description of the encounter shows “consciousness of guilt.”\u003c/p>\n\u003cp>Constand told police the drugs left her semiconscious and unable to move and her lawyers believe Cosby gave her something stronger than Benadryl.\u003c/p>\n\u003cp>Steele compared Cosby’s behavior with that of a date rapist who spikes a victim’s drink.\u003c/p>\n\u003cp>“She is not in a state that she is able to consent to any of this,” Steele said in court.\u003c/p>\n\u003cp>Cosby rubbed his hand on his face and leaned back in his chair, lightly rapping his wooden cane against the carpet as the hearing wore on. He chatted with an aide as he departed.\u003c/p>\n\u003cp>The man once known as America’s Dad for his beloved portrayal of Dr. Cliff Huxtable on his top-ranked 1980s TV show is fighting Constand and other accusers in civil court, where he has been sued for defamation.\u003c/p>\n\u003cp>The Associated Press does not normally identify people who say they were victims of sex crimes unless they agree to be named publicly, which Constand has done.\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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"title": "T-Minus 'Zero Days,' Our Terrifying Sci-Fi Future is Already Here",
"headTitle": "T-Minus ‘Zero Days,’ Our Terrifying Sci-Fi Future is Already Here | KQED",
"content": "\u003cp>\u003ci>\u003ca href=\"http://www.zerodaysfilm.com/\" target=\"_blank\" rel=\"noopener\">Zero Days\u003c/a>\u003c/i>, the newest offering from prolific director Alex Gibney, advertises itself as a documentary thriller — a real-life \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=tAcEzhQ7oqA\" target=\"_blank\" rel=\"noopener\">WarGames\u003c/a>\u003c/i> complete with intrigue, assassinations and high-stakes computer hacking. Centered on \u003ca href=\"http://www.nytimes.com/2012/06/01/world/middleeast/obama-ordered-wave-of-cyberattacks-against-iran.html?_r=0\" target=\"_blank\" rel=\"noopener\">Stuxnet\u003c/a>, a top-secret cyberweapon developed by the U.S. and Israeli governments to cripple Iran’s nuclear program, the film tells the story of how Stuxnet “went viral” in the truest, least “funny cat video” kind of way. \u003c/p>\n\u003cp>Gibney’s film makes a strong argument for why we as an American public should care about covert cyberattacks on foreign nations. But the journey to that point — told through talking heads and ominous technical visualizations — is a disjointed and strident one that may leave viewers feeling paralyzed, if not frantically typing “How do I get off the grid?” into their nearest search engines.\u003c/p>\n\u003cfigure id=\"attachment_11783735\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/3_1200.jpg\" alt=\"A scene from 'Zero Days,' showing five Stuxnet infections centered around Natanz, Iran.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days,’ showing five Stuxnet infections centered around Natanz, Iran. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The malicious (and still classified) code’s nascent days began in 2006, when then-President George W. Bush authorized a project to remotely and anonymously sabotage Natanz, Iran’s nuclear enrichment facility, with the goal of delaying the nation’s ability to build nuclear weapons. In collaboration with Israel’s cyber unit, the National Security Agency wormed the earliest versions of Stuxnet inside Natanz in 2008. \u003c/p>\n\u003cp>The code \u003ca href=\"http://www.nytimes.com/interactive/2012/06/01/world/middleeast/how-a-secret-cyberwar-program-worked.html\" target=\"_blank\" rel=\"noopener\">specifically targeted the facility’s centrifuges\u003c/a>, causing the spinning cylinders to self-destruct while sending “all good” reports to the facility’s control computers. After successful attacks at the end of Bush’s presidency, Obama reauthorized the program when he entered office. Stuxnet continued to wreak maddening havoc on Natanz. Nuclear scientists and engineers were fired. Hundreds of centrifuges were taken out of commission. No one could determine what was going wrong.\u003c/p>\n\u003cfigure id=\"attachment_11783734\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/2_1200.jpg\" alt=\"An N.S.A. source from 'Zero Days,' a Magnolia Pictures release. \" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An NSA source from ‘Zero Days,’ a Magnolia Pictures release. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 2010, Stuxnet broke loose from Natanz, infecting computers around the world without even a download or a click (a hacking capability termed “\u003ca href=\"https://en.wikipedia.org/wiki/Zero-day_(computing)\" target=\"_blank\" rel=\"noopener\">zero-day\u003c/a>” for the amount of notice one receives before a system succumbs). The top-secret cyberweapon became the object of intense fascination for security analysts like Eric Chien and Liam O’Murchu of Symantec Research Labs, who guide the film through the tricky, often technical facets of the project. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chien and O’Murchu are also the ones to give the code its popular name. In my opinion, Stuxnet is uncomfortably close to Skynet (\u003ci>Terminator\u003c/i>’s self-aware and humanity-hunting artificial intelligence). Inside U.S. security forces, it was known by the sporty moniker of “Olympic Games.” \u003c/p>\n\u003cfigure id=\"attachment_11783738\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg\" alt=\"A scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Zero Days\u003c/i>, the explainer portions of the documentary are accompanied by \u003ci>Hackers\u003c/i> and \u003ci>Matrix\u003c/i>-esque visualizations of nefarious code. Those letters and numbers could be Stuxnet, or complete nonsense; it’s impossible for the untrained eye to tell. Similarly dramatic, yet visually ambiguous images demonstrate Stuxnet’s destructive power. A balloon over-inflates and explodes — by my count — seven times in slow motion. Gibney then cuts to footage of an expanding mushroom cloud, a shape of convenient similarity. \u003c/p>\n\u003cp>The parallels between cyberwarfare and nuclear warfare come to the fore in the documentary’s final chapter. The advent of nuclear weapons during the Cold War sparked vigorous national debates, the film’s talking heads argue. Civilian involvement in that conversation led U.S. and Soviet governments to deeply consider the power they wielded and ultimately institute systems to regulate it. We can’t have this same discussion about cyberweapons today because the entire program is “hideously overclassified,” says former CIA and NSA director Michael Hayden.\u003c/p>\n\u003cfigure id=\"attachment_11783736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/4_1200.jpg\" alt=\"'New York Times' correspondent David Sanger in a scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘New York Times’ correspondent David Sanger in a scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the most terrifying part of \u003ci>Zero Days\u003c/i> isn’t the list of hypothetical disasters put forward, it’s the fact that our current vulnerability was essentially created by our own government. Once Iran learned their scientists weren’t failing them, and that there really was a secret American plot to undermine Iran’s nuclear program, they created their own cyberwarfare division, launching \u003ca href=\"http://www.nytimes.com/2013/05/13/us/cyberattacks-on-rise-against-us-corporations.html\" target=\"_blank\" rel=\"noopener\">attacks of their own\u003c/a>. Here Gibney cuts to still images of Kim Jong-un and Vladimir Putin looking intently at computer screens, leaving us to imagine the innumerable threats to civilian infrastructure, communication networks and economic systems that are all fair game in the dark and secretive world of \u003ci>Zero Days\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/ikzAcK0l-ZM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Zero Days\u003c/b> opens Friday, July 8 at Landmark Embarcadero in San Francisco, Landmark Shattuck in Berkeley and Camera 3 in San Jose.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Documentary director Alex Gibney paints a grim picture of international relations in an era of unchecked, highly classified cyberwarfare. ",
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"title": "T-Minus 'Zero Days,' Our Terrifying Sci-Fi Future is Already Here | KQED",
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"headline": "T-Minus 'Zero Days,' Our Terrifying Sci-Fi Future is Already Here",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003ca href=\"http://www.zerodaysfilm.com/\" target=\"_blank\" rel=\"noopener\">Zero Days\u003c/a>\u003c/i>, the newest offering from prolific director Alex Gibney, advertises itself as a documentary thriller — a real-life \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=tAcEzhQ7oqA\" target=\"_blank\" rel=\"noopener\">WarGames\u003c/a>\u003c/i> complete with intrigue, assassinations and high-stakes computer hacking. Centered on \u003ca href=\"http://www.nytimes.com/2012/06/01/world/middleeast/obama-ordered-wave-of-cyberattacks-against-iran.html?_r=0\" target=\"_blank\" rel=\"noopener\">Stuxnet\u003c/a>, a top-secret cyberweapon developed by the U.S. and Israeli governments to cripple Iran’s nuclear program, the film tells the story of how Stuxnet “went viral” in the truest, least “funny cat video” kind of way. \u003c/p>\n\u003cp>Gibney’s film makes a strong argument for why we as an American public should care about covert cyberattacks on foreign nations. But the journey to that point — told through talking heads and ominous technical visualizations — is a disjointed and strident one that may leave viewers feeling paralyzed, if not frantically typing “How do I get off the grid?” into their nearest search engines.\u003c/p>\n\u003cfigure id=\"attachment_11783735\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/3_1200.jpg\" alt=\"A scene from 'Zero Days,' showing five Stuxnet infections centered around Natanz, Iran.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/3_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days,’ showing five Stuxnet infections centered around Natanz, Iran. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The malicious (and still classified) code’s nascent days began in 2006, when then-President George W. Bush authorized a project to remotely and anonymously sabotage Natanz, Iran’s nuclear enrichment facility, with the goal of delaying the nation’s ability to build nuclear weapons. In collaboration with Israel’s cyber unit, the National Security Agency wormed the earliest versions of Stuxnet inside Natanz in 2008. \u003c/p>\n\u003cp>The code \u003ca href=\"http://www.nytimes.com/interactive/2012/06/01/world/middleeast/how-a-secret-cyberwar-program-worked.html\" target=\"_blank\" rel=\"noopener\">specifically targeted the facility’s centrifuges\u003c/a>, causing the spinning cylinders to self-destruct while sending “all good” reports to the facility’s control computers. After successful attacks at the end of Bush’s presidency, Obama reauthorized the program when he entered office. Stuxnet continued to wreak maddening havoc on Natanz. Nuclear scientists and engineers were fired. Hundreds of centrifuges were taken out of commission. No one could determine what was going wrong.\u003c/p>\n\u003cfigure id=\"attachment_11783734\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/2_1200.jpg\" alt=\"An N.S.A. source from 'Zero Days,' a Magnolia Pictures release. \" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/2_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An NSA source from ‘Zero Days,’ a Magnolia Pictures release. \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, in 2010, Stuxnet broke loose from Natanz, infecting computers around the world without even a download or a click (a hacking capability termed “\u003ca href=\"https://en.wikipedia.org/wiki/Zero-day_(computing)\" target=\"_blank\" rel=\"noopener\">zero-day\u003c/a>” for the amount of notice one receives before a system succumbs). The top-secret cyberweapon became the object of intense fascination for security analysts like Eric Chien and Liam O’Murchu of Symantec Research Labs, who guide the film through the tricky, often technical facets of the project. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chien and O’Murchu are also the ones to give the code its popular name. In my opinion, Stuxnet is uncomfortably close to Skynet (\u003ci>Terminator\u003c/i>’s self-aware and humanity-hunting artificial intelligence). Inside U.S. security forces, it was known by the sporty moniker of “Olympic Games.” \u003c/p>\n\u003cfigure id=\"attachment_11783738\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg\" alt=\"A scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/5_1200-1-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Zero Days\u003c/i>, the explainer portions of the documentary are accompanied by \u003ci>Hackers\u003c/i> and \u003ci>Matrix\u003c/i>-esque visualizations of nefarious code. Those letters and numbers could be Stuxnet, or complete nonsense; it’s impossible for the untrained eye to tell. Similarly dramatic, yet visually ambiguous images demonstrate Stuxnet’s destructive power. A balloon over-inflates and explodes — by my count — seven times in slow motion. Gibney then cuts to footage of an expanding mushroom cloud, a shape of convenient similarity. \u003c/p>\n\u003cp>The parallels between cyberwarfare and nuclear warfare come to the fore in the documentary’s final chapter. The advent of nuclear weapons during the Cold War sparked vigorous national debates, the film’s talking heads argue. Civilian involvement in that conversation led U.S. and Soviet governments to deeply consider the power they wielded and ultimately institute systems to regulate it. We can’t have this same discussion about cyberweapons today because the entire program is “hideously overclassified,” says former CIA and NSA director Michael Hayden.\u003c/p>\n\u003cfigure id=\"attachment_11783736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/4_1200.jpg\" alt=\"'New York Times' correspondent David Sanger in a scene from 'Zero Days.'\" width=\"1200\" height=\"675\" class=\"size-full wp-image-11783736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/4_1200-960x540.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘New York Times’ correspondent David Sanger in a scene from ‘Zero Days.’ \u003ccite>(Photo courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the most terrifying part of \u003ci>Zero Days\u003c/i> isn’t the list of hypothetical disasters put forward, it’s the fact that our current vulnerability was essentially created by our own government. Once Iran learned their scientists weren’t failing them, and that there really was a secret American plot to undermine Iran’s nuclear program, they created their own cyberwarfare division, launching \u003ca href=\"http://www.nytimes.com/2013/05/13/us/cyberattacks-on-rise-against-us-corporations.html\" target=\"_blank\" rel=\"noopener\">attacks of their own\u003c/a>. Here Gibney cuts to still images of Kim Jong-un and Vladimir Putin looking intently at computer screens, leaving us to imagine the innumerable threats to civilian infrastructure, communication networks and economic systems that are all fair game in the dark and secretive world of \u003ci>Zero Days\u003c/i>.\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/ikzAcK0l-ZM'\n title='//www.youtube.com/embed/ikzAcK0l-ZM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Zero Days\u003c/b> opens Friday, July 8 at Landmark Embarcadero in San Francisco, Landmark Shattuck in Berkeley and Camera 3 in San Jose.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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