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"content": "\u003cp>An enduring image from the new movie \u003cem>Weapons\u003c/em> comes early: The sight of elementary school students running out of their homes and onto the suburban grass, moving like flying birds with their arms out, to a song by \u003ca href=\"https://video.kqed.org/show/concert-george/\">George Harrison\u003c/a>.\u003c/p>\n\u003cp>Except this is happening at night — at 2:17 a.m., to be precise — and there’s no glee from the kids. Just running. And the Harrison song being played isn’t the cheerful “Here Comes the Sun.” It’s “Beware the Darkness.” Welcome back to another outing by director-writer Zach Cregger, a modern thriller master.\u003c/p>\n\u003cp>[aside postid='arts_13977694']\u003cem>Weapons\u003c/em> is his sophomore effort and it’s more ambitious than his first, \u003cem>Barbarian\u003c/em>. It’s told in chapters from the perspective of various interweaving characters — like a horror version of \u003ca href=\"https://freshairarchive.org/segments/paul-thomas-anderson-discusses-magnolia\">Paul Thomas Anderson’s \u003cem>Magnolia\u003c/em>\u003c/a> — and explores the ripple effects from a tragic event. But it often lags and slackens on its way to a gruesome end, with a reliance on sorcery that seems like a cop-out.\u003c/p>\n\u003cp>“This is a true story,” says a child narrator at the start of the movie, only for that technique to disappear shortly afterward. “A lot of people die in a lot of weird ways.” Indeed: There’s some fork stabbings, an assault with a vegetable peeler and one victim takes so many headbutts that his skull caves in.\u003c/p>\n\u003cp>The event at the movie’s heart is the disappearance of 17 third-graders from a single class in the middle of the night in the leafy town of Maybrook, Illinois. Ring cameras catch them opening their front doors and rushing out, not to be seen again. Only one child from the class showed up the next day at school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Everyone is baffled and frustrated. Did the kids plan it together? Were they sent a coded message via a video game or social media? Why was one child from the class seemingly spared? And does the teacher know more than what she’s letting on?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OpThntO9ixc\u003c/p>\n\u003cp>Julia Garner, who plays the teacher, offers us a fascinating, spiky character, prone to pity parties and self-righteous outbursts. She’s also seductive and manipulative and growing reliant on booze to cope with the suspicions leveled at her. At one point, someone scrawls the word “witch” on her Toyota. The town will soon know what that word really means.\u003c/p>\n\u003cp>Garner — who is doing double duty this summer as the Silver Surfer in \u003cem>Fantastic Four: First Steps\u003c/em>, wow, quite a range — is warned to stay away from the case but refuses, doing her own stakeouts and trying to speak to the only surviving classmate. “We are the only ones left,” she says.\u003c/p>\n\u003cp>Cregger being Cregger, there are lots of misdirections, paranoia and an almost existential sense of humor, usually mocking horror movie conventions (and, in this case, the movie \u003cem>Willow\u003c/em>). In \u003cem>Weapons\u003c/em>, he also nicely shows the quiet resilience of kids and their ability to face daily horrors and keep going, trying to help those they love despite creepy awfulness.\u003c/p>\n\u003cp>[aside postid='arts_13979297']The upset parents are represented by Josh Brolin’s broken father, whose son was one of the 17 who fled. He sleeps in his son’s room, wracked by guilt that he couldn’t protect someone so dear. He soon will join forces with the teacher to uncover the secret of what made the children run.\u003c/p>\n\u003cp>They will also collide into a local drug user/low-level criminal, played superbly by \u003ca href=\"https://www.kqed.org/arts/13809270/a-college-bound-lad-and-his-unbound-dad-in-brads-status\">Austin Abrams\u003c/a>, whose bumbling, comic relief is welcome. Amy Madigan is unrecognizable and utterly mesmerizing as an oddball aunt of the surviving boy, a splendid Cary Christopher.\u003c/p>\n\u003cp>\u003cem>Weapons\u003c/em> is best before the final third, when we learn of an outside force that may have triggered all this misery. Cregger seemed to be on more solid footing mocking suburban life, showing the savagery below the mowed grass pleasantries, the quiet desperation inside marriages and the corruption of small-town police departments.\u003c/p>\n\u003cp>If \u003cem>Barbarian\u003c/em> came out of left field three years ago and heralded an exciting new voice in filmmaking, \u003cem>Weapons\u003c/em> doesn’t disappoint but it doesn’t have the advantage of surprise. It will, at the very least, make you feel a little dread when the clock hits 2:17 a.m.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Weapons’ is released nationwide on Aug. 8, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An enduring image from the new movie \u003cem>Weapons\u003c/em> comes early: The sight of elementary school students running out of their homes and onto the suburban grass, moving like flying birds with their arms out, to a song by \u003ca href=\"https://video.kqed.org/show/concert-george/\">George Harrison\u003c/a>.\u003c/p>\n\u003cp>Except this is happening at night — at 2:17 a.m., to be precise — and there’s no glee from the kids. Just running. And the Harrison song being played isn’t the cheerful “Here Comes the Sun.” It’s “Beware the Darkness.” Welcome back to another outing by director-writer Zach Cregger, a modern thriller master.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Weapons\u003c/em> is his sophomore effort and it’s more ambitious than his first, \u003cem>Barbarian\u003c/em>. It’s told in chapters from the perspective of various interweaving characters — like a horror version of \u003ca href=\"https://freshairarchive.org/segments/paul-thomas-anderson-discusses-magnolia\">Paul Thomas Anderson’s \u003cem>Magnolia\u003c/em>\u003c/a> — and explores the ripple effects from a tragic event. But it often lags and slackens on its way to a gruesome end, with a reliance on sorcery that seems like a cop-out.\u003c/p>\n\u003cp>“This is a true story,” says a child narrator at the start of the movie, only for that technique to disappear shortly afterward. “A lot of people die in a lot of weird ways.” Indeed: There’s some fork stabbings, an assault with a vegetable peeler and one victim takes so many headbutts that his skull caves in.\u003c/p>\n\u003cp>The event at the movie’s heart is the disappearance of 17 third-graders from a single class in the middle of the night in the leafy town of Maybrook, Illinois. Ring cameras catch them opening their front doors and rushing out, not to be seen again. Only one child from the class showed up the next day at school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Everyone is baffled and frustrated. Did the kids plan it together? Were they sent a coded message via a video game or social media? Why was one child from the class seemingly spared? And does the teacher know more than what she’s letting on?\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/OpThntO9ixc'\n title='//www.youtube.com/embed/OpThntO9ixc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Julia Garner, who plays the teacher, offers us a fascinating, spiky character, prone to pity parties and self-righteous outbursts. She’s also seductive and manipulative and growing reliant on booze to cope with the suspicions leveled at her. At one point, someone scrawls the word “witch” on her Toyota. The town will soon know what that word really means.\u003c/p>\n\u003cp>Garner — who is doing double duty this summer as the Silver Surfer in \u003cem>Fantastic Four: First Steps\u003c/em>, wow, quite a range — is warned to stay away from the case but refuses, doing her own stakeouts and trying to speak to the only surviving classmate. “We are the only ones left,” she says.\u003c/p>\n\u003cp>Cregger being Cregger, there are lots of misdirections, paranoia and an almost existential sense of humor, usually mocking horror movie conventions (and, in this case, the movie \u003cem>Willow\u003c/em>). In \u003cem>Weapons\u003c/em>, he also nicely shows the quiet resilience of kids and their ability to face daily horrors and keep going, trying to help those they love despite creepy awfulness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The upset parents are represented by Josh Brolin’s broken father, whose son was one of the 17 who fled. He sleeps in his son’s room, wracked by guilt that he couldn’t protect someone so dear. He soon will join forces with the teacher to uncover the secret of what made the children run.\u003c/p>\n\u003cp>They will also collide into a local drug user/low-level criminal, played superbly by \u003ca href=\"https://www.kqed.org/arts/13809270/a-college-bound-lad-and-his-unbound-dad-in-brads-status\">Austin Abrams\u003c/a>, whose bumbling, comic relief is welcome. Amy Madigan is unrecognizable and utterly mesmerizing as an oddball aunt of the surviving boy, a splendid Cary Christopher.\u003c/p>\n\u003cp>\u003cem>Weapons\u003c/em> is best before the final third, when we learn of an outside force that may have triggered all this misery. Cregger seemed to be on more solid footing mocking suburban life, showing the savagery below the mowed grass pleasantries, the quiet desperation inside marriages and the corruption of small-town police departments.\u003c/p>\n\u003cp>If \u003cem>Barbarian\u003c/em> came out of left field three years ago and heralded an exciting new voice in filmmaking, \u003cem>Weapons\u003c/em> doesn’t disappoint but it doesn’t have the advantage of surprise. It will, at the very least, make you feel a little dread when the clock hits 2:17 a.m.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Weapons’ is released nationwide on Aug. 8, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The perils of the dating scene are vast, but there are horrors in long-term relationships too. With intimacy and commitment, there can also come codependency and even convergence. Once individuals, some couples start to dress alike, act alike and even, terrifyingly, look alike.\u003c/p>\n\u003cp>On the comedic end, there’s the smug marrieds table of \u003ca href=\"https://www.kqed.org/arts/13251856/bridget-jones-author-wins-comic-fiction-prize-and-a-pig\">\u003cem>Bridget Jones\u003c/em>\u003c/a>. And then there’s the scary end in \u003cem>Together\u003c/em>, in which convergence is rendered more literally and where the \u003ca href=\"https://www.kqed.org/pop/tag/spice-girls\">Spice Girls\u003c/a> anthem “2 Become 1” takes on a whole new, horrifying meaning.\u003c/p>\n\u003cp>[aside postid='arts_13977694']\u003cem>Together\u003c/em>, written and directed by Australian filmmaker Michael Shanks in his feature debut, stars Alison Brie and Dave Franco as the converging couple Millie and Tim. Brie and Franco bring some authenticity to the roles — in real life, they’ve been together for nearly 15 years and married for eight. When they’re calling one another “babe” on-screen or reacting to the other’s light flirting with someone else, the lived-in comfort and easy rapport is evident. That’s not to say this film doesn’t require them to stretch or act, but the base credibility established by that off-screen fact goes a long way in selling the wild things that transpire down the line.\u003c/p>\n\u003cp>When we meet them, at a farewell party with friends in \u003ca href=\"https://www.kqed.org/arts/tag/new-york\">New York\u003c/a>, they don’t seem particularly happy together as they prepare to embark on a big life step: moving to the country for Millie’s teaching job. Tim is embarrassed when he’s made aware of the fact that they’re dressed similarly and immediately changes. The mood overall is a little less than joyous — both seem hesitant and their friends aren’t exactly supportive either. We learn early that their physical relationship has been lacking for some time. But it’s already set in motion and Tim and Millie seem destined, or perhaps doomed, to stay together whether they like it or not.\u003c/p>\n\u003cp>There are a lot of strange things happening in the country before the body horror enters the picture. Tim is haunted by the memory of discovering his parents dead — a frightening image that we’re faced with several times. And he’s having a visceral reaction to some of the smells in the old home. A warning: Food does not pair well with \u003cem>Together\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UJ0mygAig8Y\u003c/p>\n\u003cp>Things start to go really downhill when the city couple goes for a little hike in the woods and ends up spending the night in a cavernous hole they’ve fallen into. In the morning, they discover their legs are stuck together by a gooey film. It’s immensely painful for them to separate. This is among the most minor of the disturbing images to come, so brace yourself. It might not be Cronenberg, but it’s effective.\u003c/p>\n\u003cp>We moviegoers can take the art of body horror for granted, but the makeup, prosthetics and effects teams deserve a lot of credit for making this work. Shanks has a command of the tone and pacing, which isn’t without moments of humor and lightness along with the trauma and gore. Tim, in this transformation, is suddenly very hot for Millie, which results in one particularly intense encounter that is at turns awkward, comedic, heartbreaking and utterly disgusting. It’s an impressive combination.\u003c/p>\n\u003cp>[aside postid='arts_13979097']I’ll respectfully stay out of the debate about whether \u003cem>Together\u003c/em> is the best or worst date-night movie ever (depends on the relationship, I’d say), but it could make for a fun double feature with its Sundance companion \u003cem>\u003ca href=\"https://www.kqed.org/arts/13979097/oh-hi-logan-lerman-molly-gordon-dark-comedy-dating\">Oh, Hi!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are times when \u003cem>Together\u003c/em> does start to feel a bit redundant in the wait for the crescendo and conclusion. And like many horror movies, there might be a little too much explanation given for why these things are occurring. Perhaps the alternative would be equally frustrating.\u003c/p>\n\u003cp>Still, it’s an impressive work of independent cinema that stays shockingly grounded thanks to its two leads and their fearless performances. If Shanks can do \u003cem>Together\u003c/em> with a limited budget, it’s exciting to think what he might dream up with a bigger canvas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Together’ is released nationwide on July 30, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UJ0mygAig8Y'\n title='//www.youtube.com/embed/UJ0mygAig8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Things start to go really downhill when the city couple goes for a little hike in the woods and ends up spending the night in a cavernous hole they’ve fallen into. In the morning, they discover their legs are stuck together by a gooey film. It’s immensely painful for them to separate. This is among the most minor of the disturbing images to come, so brace yourself. It might not be Cronenberg, but it’s effective.\u003c/p>\n\u003cp>We moviegoers can take the art of body horror for granted, but the makeup, prosthetics and effects teams deserve a lot of credit for making this work. Shanks has a command of the tone and pacing, which isn’t without moments of humor and lightness along with the trauma and gore. Tim, in this transformation, is suddenly very hot for Millie, which results in one particularly intense encounter that is at turns awkward, comedic, heartbreaking and utterly disgusting. It’s an impressive combination.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’ll respectfully stay out of the debate about whether \u003cem>Together\u003c/em> is the best or worst date-night movie ever (depends on the relationship, I’d say), but it could make for a fun double feature with its Sundance companion \u003cem>\u003ca href=\"https://www.kqed.org/arts/13979097/oh-hi-logan-lerman-molly-gordon-dark-comedy-dating\">Oh, Hi!\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are times when \u003cem>Together\u003c/em> does start to feel a bit redundant in the wait for the crescendo and conclusion. And like many horror movies, there might be a little too much explanation given for why these things are occurring. Perhaps the alternative would be equally frustrating.\u003c/p>\n\u003cp>Still, it’s an impressive work of independent cinema that stays shockingly grounded thanks to its two leads and their fearless performances. If Shanks can do \u003cem>Together\u003c/em> with a limited budget, it’s exciting to think what he might dream up with a bigger canvas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Together’ is released nationwide on July 30, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nothing about \u003cem>\u003ca href=\"https://jfi.org/sfjff-2025/film-guide/my-underground-mother\">My Underground Mother\u003c/a>\u003c/em> is easy to watch. Violence is ever-present in journalist Marisa Fox’s investigation into her Jewish mother’s concealed life during and after World War II. And over the course of the film, Fox’s mother Hela Hocherman emerges as both a victim and a perpetrator of that violence.\u003c/p>\n\u003cp>[aside postid='arts_13978098']The majority of the film reveals the harrowing fates of thousands of Jewish girls who spent World War II imprisoned in forced-labor camps. Viewing the Holocaust from the perspectives of teen girls feels starkly revelatory, as Fox depicts how sexual violence is weaponized during war.\u003c/p>\n\u003cp>The final 15 minutes of \u003cem>My Underground Mother\u003c/em> is an examination of Hocherman’s postwar life. She became a militant Zionist operating in Palestine with Haganah, a paramilitary organization that attacked and disrupted the British forces charged with keeping Jewish refugees out of Palestine until 1948. While Hocherman’s activities are neither held up as heroic nor vilified in the film, it also does not mention the hundreds of thousands of Palestinian people caught up in that postwar conflict and ultimately displaced by the founding of Israel. At best, this is a frustrating omission. At worst, it feels pointedly neglectful.\u003c/p>\n\u003cp>That’s not to say \u003cem>My Underground Mother\u003c/em> isn’t worth your time. In many ways, the film’s value is born directly from its challenging subject matter.\u003c/p>\n\u003cp>The documentary begins with Fox’s journey into Europe to find out who her mother really was. After moving to the U.S. at the age of 30, Hocherman spent her life hiding who she had been before, using an entirely different name and even lying to her Brooklyn-born husband about her past. Hocherman’s reasons were, in Fox’s estimation, likely an attempt to conceal “how dehumanizing part of her life was.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13977502']Hocherman told her American family that she spent the war safe in Palestine, and that she escaped from Poland before German forces invaded. The truth, Fox discovers, is that her mother was forcibly taken from her Polish apartment building at the age of 14, separated from her family, and transported to Gabersdorf, a forced-labor camp. Hocherman remained there with hundreds of other teenage girls for four and a half years while her mother languished in Auschwitz. (Tragically, Fox’s grandmother died from typhus shortly after she was liberated.)\u003c/p>\n\u003cp>At Gabersdorf, Hocherman endured 12-hour work days with no breaks, in silence, under threat of severe beatings. At night, she slept in lice- and bedbug-infested barracks with 41 other girls. And as the teens aged, they came under increasingly invasive threats of sexual exploitation and violence. After Gabersdorf was finally liberated, the ever-present threat of rape remained — even from their liberators.\u003c/p>\n\u003cp>“We knew what it is to be a Jew,” one survivor says in the film, “but we didn’t feel it on our bodies until Hitler came.”\u003c/p>\n\u003cp>Hocherman’s story is relayed to Fox by friends who knew her mother, both inside Gabersdorf and outside the camp’s barbed-wire fences. Further details are revealed by historical documents, secret camp diaries, and the German women who were paid to work alongside the Gabersdorf prisoners, but forbidden to talk to them. It’s tempting in 2025 to assume we’ve heard every possible narrative about the Holocaust. \u003cem>My Underground Mother\u003c/em> proves otherwise.\u003c/p>\n\u003cp>Hocherman’s wartime experience turned her militant. Fox learns that her mother was involved in many clandestine Haganah actions against British troops in Palestine, including blowing up trains. One interviewee tells Fox that her mother killed at least one British officer during the Zionists’ fight.\u003c/p>\n\u003cp>Hanna Armoni, a former member of the Lehi Underground, another Zionist group, says Hocherman once told her, “After what I saw, what the Germans did to us, how the British treated us, I wanted to fight for my country.”\u003c/p>\n\u003cp>“My mother’s way of rejecting shame,” Fox says, “was to reinvent herself a freedom fighter.”\u003c/p>\n\u003cp>Throughout, the film does not acknowledge the experience of Palestinians past or present. Viewers in 2025 may find this uncomfortable, especially as \u003ca href=\"https://www.npr.org/2025/07/29/g-s1-79039/gaza-children-starvation-health-risks\">Palestinians starve\u003c/a> and the \u003ca href=\"https://www.haaretz.com/israel-news/2025-07-28/ty-article/netanyahu-proposes-to-annex-gaza-in-attempt-to-appease-far-right-minister/00000198-525a-dc50-a9bf-ff7ba06f0000\">Gaza Strip is under threat of annexation\u003c/a>.\u003c/p>\n\u003cp>Though the portion of \u003cem>My Underground Mother\u003c/em> that concerns Gabersdorf feels very different in tone to the chapter about Hocherman’s postwar militancy, there is one overarching theme that connects the two: Humankind is capable of incredible cruelty.\u003c/p>\n\u003cp>As Fox realizes everything her mother went through and concealed, the filmmaker’s raw emotions are what makes this film so compelling. “Wherever you are, Mom,” Fox says in the film, “I wish you didn’t feel you had to be alone with this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://jfi.org/sfjff-2025/film-guide/my-underground-mother\">My Underground Mother\u003c/a>’ premieres at Oakland’s Landmark Piedmont Theatre on Aug. 2, 2025 at 8:30 p.m., as part of the \u003ca href=\"https://jfi.org/sfjff-2025\">45th San Francisco Jewish Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The majority of the film reveals the harrowing fates of thousands of Jewish girls who spent World War II imprisoned in forced-labor camps. Viewing the Holocaust from the perspectives of teen girls feels starkly revelatory, as Fox depicts how sexual violence is weaponized during war.\u003c/p>\n\u003cp>The final 15 minutes of \u003cem>My Underground Mother\u003c/em> is an examination of Hocherman’s postwar life. She became a militant Zionist operating in Palestine with Haganah, a paramilitary organization that attacked and disrupted the British forces charged with keeping Jewish refugees out of Palestine until 1948. While Hocherman’s activities are neither held up as heroic nor vilified in the film, it also does not mention the hundreds of thousands of Palestinian people caught up in that postwar conflict and ultimately displaced by the founding of Israel. At best, this is a frustrating omission. At worst, it feels pointedly neglectful.\u003c/p>\n\u003cp>That’s not to say \u003cem>My Underground Mother\u003c/em> isn’t worth your time. In many ways, the film’s value is born directly from its challenging subject matter.\u003c/p>\n\u003cp>The documentary begins with Fox’s journey into Europe to find out who her mother really was. After moving to the U.S. at the age of 30, Hocherman spent her life hiding who she had been before, using an entirely different name and even lying to her Brooklyn-born husband about her past. Hocherman’s reasons were, in Fox’s estimation, likely an attempt to conceal “how dehumanizing part of her life was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hocherman told her American family that she spent the war safe in Palestine, and that she escaped from Poland before German forces invaded. The truth, Fox discovers, is that her mother was forcibly taken from her Polish apartment building at the age of 14, separated from her family, and transported to Gabersdorf, a forced-labor camp. Hocherman remained there with hundreds of other teenage girls for four and a half years while her mother languished in Auschwitz. (Tragically, Fox’s grandmother died from typhus shortly after she was liberated.)\u003c/p>\n\u003cp>At Gabersdorf, Hocherman endured 12-hour work days with no breaks, in silence, under threat of severe beatings. At night, she slept in lice- and bedbug-infested barracks with 41 other girls. And as the teens aged, they came under increasingly invasive threats of sexual exploitation and violence. After Gabersdorf was finally liberated, the ever-present threat of rape remained — even from their liberators.\u003c/p>\n\u003cp>“We knew what it is to be a Jew,” one survivor says in the film, “but we didn’t feel it on our bodies until Hitler came.”\u003c/p>\n\u003cp>Hocherman’s story is relayed to Fox by friends who knew her mother, both inside Gabersdorf and outside the camp’s barbed-wire fences. Further details are revealed by historical documents, secret camp diaries, and the German women who were paid to work alongside the Gabersdorf prisoners, but forbidden to talk to them. It’s tempting in 2025 to assume we’ve heard every possible narrative about the Holocaust. \u003cem>My Underground Mother\u003c/em> proves otherwise.\u003c/p>\n\u003cp>Hocherman’s wartime experience turned her militant. Fox learns that her mother was involved in many clandestine Haganah actions against British troops in Palestine, including blowing up trains. One interviewee tells Fox that her mother killed at least one British officer during the Zionists’ fight.\u003c/p>\n\u003cp>Hanna Armoni, a former member of the Lehi Underground, another Zionist group, says Hocherman once told her, “After what I saw, what the Germans did to us, how the British treated us, I wanted to fight for my country.”\u003c/p>\n\u003cp>“My mother’s way of rejecting shame,” Fox says, “was to reinvent herself a freedom fighter.”\u003c/p>\n\u003cp>Throughout, the film does not acknowledge the experience of Palestinians past or present. Viewers in 2025 may find this uncomfortable, especially as \u003ca href=\"https://www.npr.org/2025/07/29/g-s1-79039/gaza-children-starvation-health-risks\">Palestinians starve\u003c/a> and the \u003ca href=\"https://www.haaretz.com/israel-news/2025-07-28/ty-article/netanyahu-proposes-to-annex-gaza-in-attempt-to-appease-far-right-minister/00000198-525a-dc50-a9bf-ff7ba06f0000\">Gaza Strip is under threat of annexation\u003c/a>.\u003c/p>\n\u003cp>Though the portion of \u003cem>My Underground Mother\u003c/em> that concerns Gabersdorf feels very different in tone to the chapter about Hocherman’s postwar militancy, there is one overarching theme that connects the two: Humankind is capable of incredible cruelty.\u003c/p>\n\u003cp>As Fox realizes everything her mother went through and concealed, the filmmaker’s raw emotions are what makes this film so compelling. “Wherever you are, Mom,” Fox says in the film, “I wish you didn’t feel you had to be alone with this.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://jfi.org/sfjff-2025/film-guide/my-underground-mother\">My Underground Mother\u003c/a>’ premieres at Oakland’s Landmark Piedmont Theatre on Aug. 2, 2025 at 8:30 p.m., as part of the \u003ca href=\"https://jfi.org/sfjff-2025\">45th San Francisco Jewish Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Octavia Butler Offers a Roadmap for Survival In This Documentary",
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"content": "\u003cp>Over 30 years ago, Octavia Butler pretty much predicted our present moment with her science-fiction opus, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon\">Parable of the Sower\u003c/a>\u003c/i>. The novel opens in California in 2024, and to many of today’s readers, Butler’s prescient depictions of a state ravaged by fires, extreme inequality, rising authoritarianism and corporate greed feel uncanny. It’s no wonder that countless activists and thinkers turn to Butler as a beacon as they figure out how to navigate this era of political upheaval and manmade environmental disasters.\u003c/p>\n\u003cp>[aside postID='arts_13979110']\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 30 years ago, Octavia Butler pretty much predicted our present moment with her science-fiction opus, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13928131/octavia-butlers-parable-sower-cal-performances-toshi-reagon\">Parable of the Sower\u003c/a>\u003c/i>. The novel opens in California in 2024, and to many of today’s readers, Butler’s prescient depictions of a state ravaged by fires, extreme inequality, rising authoritarianism and corporate greed feel uncanny. It’s no wonder that countless activists and thinkers turn to Butler as a beacon as they figure out how to navigate this era of political upheaval and manmade environmental disasters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>Parable of the Sower\u003c/i>’s main character, Lauren Olamina, journeys from Southern California in search of a better life up north with a trusted crew that helps each other survive. In the process, she comes up with a new spiritual belief system called Earthseed, whose core tenet is “God is change.”\u003c/p>\n\u003cp>For \u003ca href=\"https://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a>’s Jocelyn Jackson, Sita Kurato Bhaumik and Võ Hải, the story serves as a roadmap. Since its beginnings in Oakland in 2011, the collective’s omnivorous programming has used art and food to build solidarity among people struggling against oppressive systems — whether that’s serving free breakfast to anyone who’s hungry, or reclaiming ancestral recipes at the Museum of the African Diaspora, where Jackson was a\u003ca href=\"https://www.kqed.org/arts/13923936/moad-new-chef-in-residence-jocelyn-jackson-peoples-kitchen-collective\"> chef-in-residence\u003c/a>.\u003c/p>\n\u003cp>In 2023, following in Olamina’s footsteps in \u003ci>Parable of the Sower\u003c/i>, People’s Kitchen Collective set out on a journey by foot and bike to visit intentional communities developing alternative social structures, from Los Angeles to Mendocino County. They broke bread with nearly a dozen different collectives of Black and brown artists, farmers, activists and chefs, and learned about how they care for one another and the people around them. Viewers can tag along in the new documentary directed by Fox Nakai, \u003ca href=\"https://peopleskitchencollective.com/earth-seed\">\u003ci>Earth Seed: A People’s Journey of Radical Hospitality\u003c/i>\u003c/a>, which will screen at the \u003ca href=\"https://bampfa.org/earth-seed\">Berkeley Art Museum and Pacific Film Archive\u003c/a> on July 27.\u003c/p>\n\u003cfigure id=\"attachment_13979161\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979161\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg\" alt=\"\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FSTOPpk040123-126-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">In ‘Earth Seed,’ Los Angeles Community Action Network organizers hand out hot tea to unhoused residents of Skid Row. LACAN is one of the many intentional communities and mutual aid collectives People’s Kitchen Collective visited in the film. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hospitality, the way many of us have experienced it, may call to mind a hierarchical relationship, whether it’s waiters serving customers at a restaurant or women making sure everyone is fed and taken care of at a family gathering. In \u003ci>Earth Seed\u003c/i>, a new way of engaging emerges: The idea of \u003ci>radical\u003c/i> hospitality asks viewers to imagine how we can be in reciprocal relationships with those around us and the land.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mutual aid for me is a practice,” Jackson tells KQED. “It’s not just something you do during an emergency. … The emergency is 100% of the time at this point.”\u003c/p>\n\u003cp>\u003ci>Earth Seed\u003c/i> begins in the urban heart of Los Angeles, where the Los Angeles Community Action Network feeds people living on the streets of Skid Row. Beyond handing out meals, the collective creates spaces for LA’s poorest residents to come together, both to heal and to fight for their rights. The People’s Kitchen Collective moves out of LA County and through Central Valley, later visiting Tierras Milperas, a community garden where farmworkers from Watsonville and Pajaro, just outside of Santa Cruz, grow food for themselves and their families. When People’s Kitchen Collective visited, they had received a 15-day \u003ca href=\"https://lookout.co/in-the-countys-agricultural-heartland-a-feud-over-church-gardens-and-food-sovereignty-takes-root/story\">eviction notice\u003c/a> to vacate the land they had stewarded for 15 years.\u003c/p>\n\u003cp>“They were actively being evicted from their land in some of the most insidious ways, in some of the violent ways and some of just tragically oppressive ways,” says Jackson. “And in the midst of that eviction, they still hosted us. … That’s profound to me.”\u003c/p>\n\u003cfigure id=\"attachment_13979160\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Tierras-Milperas-5-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Tierras Milperas Farm in Watsonville, California on May 7, 2023. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As they headed further north, People’s Kitchen Collective returned to their home base of Oakland to share a meal with elders from the Black Panther Party, who reminded them that their now-legendary survival programs, including free breakfast, were simply the product of young people noticing the needs of their community and doing something about it.\u003c/p>\n\u003cp>“It’s not like it can’t be done — it \u003cem>has\u003c/em> been done, and it can continue to be done,” the Panthers’ Minister of Culture, Emory Douglas, says in the documentary to a crowd that includes Oakland schoolchildren listening with rapt attention.\u003c/p>\n\u003cfigure id=\"attachment_13979165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979165\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/bethaniehines-234-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">People’s Kitchen Collective visits Rich City Rides, a Richmond biking group whose work includes environmental advocacy. \u003ccite>(Courtesy of People's Kitchen Collective)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a crucial reminder for our era. As 2025 marches on, many people feel paralyzed by the dissonance of having to continue business as usual amid so much suffering locally and globally — millions starving in Gaza as Israel continues to block humanitarian aid; hunger rising in the U.S. after the Trump administration’s cuts to federal funding; a persistent homelessness crisis in San Francisco, Oakland and other major American cities.\u003c/p>\n\u003cp>As one watches \u003ci>Earth Seed\u003c/i>, the groups that People’s Kitchen Collective visits are a reminder of everyday people’s agency to create alternative ways of relating to one another and the environment, striving to move away from extractive and exploitative ways of doing things. That’s a seed that People’s Kitchen Collective wants to nurture as the organization prepares to take the documentary on a national tour, with more screenings to be announced after the July 27 event at BAMPFA.\u003c/p>\n\u003cp>“We understand that hyper-local actions impact globally,” says Jackson. “And that’s fundamentally where we want to go with this film. And we wouldn’t be doing this national tour except for that intention.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/earth-seed\">Earth Seed: A Journey of Radical Hospitality\u003c/a>’ screens for free on July 27, 2025, 3–6 p.m. at the Berkeley Art Museum and Pacific Film Archive, followed by a discussion with Jocelyn Jackson and Isis Asare of \u003ca href=\"https://sistahscifi.com/\">Sistah Scifi\u003c/a>, an online bookstore that focuses on speculative fiction by Black and Indigenous authors.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oh-hi-logan-lerman-molly-gordon-dark-comedy-dating",
"title": "A Dark Comedy About Modern Dating in Sharp, (Knowingly) Silly ‘Oh, Hi!’",
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"content": "\u003cp>The modern dating scene is not a healthy one. Perhaps it never really was and everyone is nostalgic for something that didn’t exist. But you don’t need to be on the apps to sense the anxiety around. Just open the New York Times Magazine site and scroll through the 1,200 comments on Jean Garnett’s “The Trouble With Wanting Men,” in which she examines unfulfilled desire and the idea of “heterofatalism.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13977516']\u003c/span>We wonder what happened to the romantic comedy. Maybe we’re all to blame. How can we have fun with stories about romance when it is so bleak out there? But thank goodness for the filmmakers who are trying to, if not make sense of it all, talk about it. Celine Song did it in her own way with \u003ca href=\"https://www.kqed.org/arts/13977516/materialists-movie-review-pedro-pascal-dakota-johnson-chris-evans-love-triangle\">\u003cem>Materialists\u003c/em>\u003c/a>. And now comes Sophie Brooks’ \u003cem>Oh, Hi!\u003c/em> about a new-ish couple on their first weekend away together. These movies are not at all similar, and yet both speak to the current mood in valuable ways.\u003c/p>\n\u003cp>In \u003cem>Oh, Hi!\u003c/em> Iris (Molly Gordon) and Isaac (Logan Lerman) seem to be very much in sync as a pair, singing in the car together, laughing about a little accident that results in the purchase of hundreds of strawberries and excitedly exploring the very nice house they’ve rented for this romantic getaway. The chemistry is there: There’s humor, wit, conversation and attraction. They’re even on the same page on more intimate matters. It is a terrific opening — nothing is really happening, and yet it’s pleasant to just be in the moment with them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s_IEVF0GQPk\u003c/p>\n\u003cp>But then things take a turn. We know they’re headed south from the first frame, when a distraught Iris greets her friend Max (Geraldine Viswanathan) at the country home late one night. We’re trained to expect that it’s all leading to a fight, or a breakup. \u003cem>Oh, Hi!\u003c/em>, however, has other things up its sleeve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Note to new couples: Best not to define a relationship while one is chained to the bed after a bit of experimentation. Granted, neither thought they needed to have this conversation, but it quickly becomes clear that they both heard things differently. Iris thought they were exclusive. Isaac thought it was perfectly clear that they weren’t and aren’t. But why, Iris asks, are they doing this at all after four months? Why are they on this trip? Why did he make her scallops? It’s enough to make anyone go a little mad, which Iris does, deciding that she’s going to keep Isaac chained up until they talk it through to her satisfaction.\u003c/p>\n\u003cp>It’s a kind of over-the-top, \u003cem>Misery\u003c/em>-styled meditation on entrenched gender cliches in heterosexual dating. The women are crazy and needy. The men are jerks and aloof. And no amount of rational discussion on either side will end the stalemate. Iris believes that if he just gets to know her a little better, perhaps he’ll change his mind. She goes long on her biography in a funny little sequence, but the monologuing doesn’t help Isaac figure out how to escape. It just goes on.\u003c/p>\n\u003cfigure id=\"attachment_13979099\" class=\"wp-caption aligncenter\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979099\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg\" alt=\"\" width=\"710\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35-160x108.jpg 160w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">John Reynolds and Geraldine Viswanathan play Kenny and Max in the movie. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Oh, Hi!\u003c/em> follows this path to extreme ends as Iris involves Max and her boyfriend Kenny (John Reynolds), who are all trying to figure out how to get out of the situation without going to jail. It’s admirable how ardently they commit to making this outlandish premise as realistic as possible.\u003c/p>\n\u003cp>The film loses the plot a bit when Max and Kenny get involved and things get extra silly. It might have been better had it stayed with Iris and Isaac to the bitter end. Gordon, who co-wrote the story with Brooks, is a huge reason it works at all. She somehow keeps Iris grounded and relatable throughout, which is no small feat after she makes her big mistake. At times, that epic misstep made me think that \u003cem>Oh, Hi!\u003c/em> might be the female \u003ca href=\"https://www.kqed.org/arts/13975887/friendship-movie-review-paul-rudd-tim-robinson\">\u003cem>Friendship\u003c/em>\u003c/a>. And while Lerman gets substantially less to do, you come out feeling for both characters, trapped in anxieties of their own making and a social structure in which neither romance nor commitment seems to be a priority. At least this film lets us laugh about it a little bit.\u003c/p>\n\u003cp>And lest you think people in relationships have it easier, just wait until \u003cem>Together\u003c/em> arrives next week.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oh, Hi!’ is released in theaters on July 25, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The modern dating scene is not a healthy one. Perhaps it never really was and everyone is nostalgic for something that didn’t exist. But you don’t need to be on the apps to sense the anxiety around. Just open the New York Times Magazine site and scroll through the 1,200 comments on Jean Garnett’s “The Trouble With Wanting Men,” in which she examines unfulfilled desire and the idea of “heterofatalism.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>We wonder what happened to the romantic comedy. Maybe we’re all to blame. How can we have fun with stories about romance when it is so bleak out there? But thank goodness for the filmmakers who are trying to, if not make sense of it all, talk about it. Celine Song did it in her own way with \u003ca href=\"https://www.kqed.org/arts/13977516/materialists-movie-review-pedro-pascal-dakota-johnson-chris-evans-love-triangle\">\u003cem>Materialists\u003c/em>\u003c/a>. And now comes Sophie Brooks’ \u003cem>Oh, Hi!\u003c/em> about a new-ish couple on their first weekend away together. These movies are not at all similar, and yet both speak to the current mood in valuable ways.\u003c/p>\n\u003cp>In \u003cem>Oh, Hi!\u003c/em> Iris (Molly Gordon) and Isaac (Logan Lerman) seem to be very much in sync as a pair, singing in the car together, laughing about a little accident that results in the purchase of hundreds of strawberries and excitedly exploring the very nice house they’ve rented for this romantic getaway. The chemistry is there: There’s humor, wit, conversation and attraction. They’re even on the same page on more intimate matters. It is a terrific opening — nothing is really happening, and yet it’s pleasant to just be in the moment with them.\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/s_IEVF0GQPk'\n title='//www.youtube.com/embed/s_IEVF0GQPk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But then things take a turn. We know they’re headed south from the first frame, when a distraught Iris greets her friend Max (Geraldine Viswanathan) at the country home late one night. We’re trained to expect that it’s all leading to a fight, or a breakup. \u003cem>Oh, Hi!\u003c/em>, however, has other things up its sleeve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Note to new couples: Best not to define a relationship while one is chained to the bed after a bit of experimentation. Granted, neither thought they needed to have this conversation, but it quickly becomes clear that they both heard things differently. Iris thought they were exclusive. Isaac thought it was perfectly clear that they weren’t and aren’t. But why, Iris asks, are they doing this at all after four months? Why are they on this trip? Why did he make her scallops? It’s enough to make anyone go a little mad, which Iris does, deciding that she’s going to keep Isaac chained up until they talk it through to her satisfaction.\u003c/p>\n\u003cp>It’s a kind of over-the-top, \u003cem>Misery\u003c/em>-styled meditation on entrenched gender cliches in heterosexual dating. The women are crazy and needy. The men are jerks and aloof. And no amount of rational discussion on either side will end the stalemate. Iris believes that if he just gets to know her a little better, perhaps he’ll change his mind. She goes long on her biography in a funny little sequence, but the monologuing doesn’t help Isaac figure out how to escape. It just goes on.\u003c/p>\n\u003cfigure id=\"attachment_13979099\" class=\"wp-caption aligncenter\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979099\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg\" alt=\"\" width=\"710\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/5-35-160x108.jpg 160w\" sizes=\"auto, (max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">John Reynolds and Geraldine Viswanathan play Kenny and Max in the movie. \u003ccite>(Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Oh, Hi!\u003c/em> follows this path to extreme ends as Iris involves Max and her boyfriend Kenny (John Reynolds), who are all trying to figure out how to get out of the situation without going to jail. It’s admirable how ardently they commit to making this outlandish premise as realistic as possible.\u003c/p>\n\u003cp>The film loses the plot a bit when Max and Kenny get involved and things get extra silly. It might have been better had it stayed with Iris and Isaac to the bitter end. Gordon, who co-wrote the story with Brooks, is a huge reason it works at all. She somehow keeps Iris grounded and relatable throughout, which is no small feat after she makes her big mistake. At times, that epic misstep made me think that \u003cem>Oh, Hi!\u003c/em> might be the female \u003ca href=\"https://www.kqed.org/arts/13975887/friendship-movie-review-paul-rudd-tim-robinson\">\u003cem>Friendship\u003c/em>\u003c/a>. And while Lerman gets substantially less to do, you come out feeling for both characters, trapped in anxieties of their own making and a social structure in which neither romance nor commitment seems to be a priority. At least this film lets us laugh about it a little bit.\u003c/p>\n\u003cp>And lest you think people in relationships have it easier, just wait until \u003cem>Together\u003c/em> arrives next week.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oh, Hi!’ is released in theaters on July 25, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Are we racists?” That’s the blunt question posed by Bobo, a white girl living on a farm in Africa, to her horrified (and defensive) mother.\u003c/p>\n\u003cp>There are so many ways this three-word line reading could land wrongly — or just seem forced or mannered. But it feels thoroughly organic when voiced by Lexi Venter, an extraordinary first-time actor who gives, at age 7, one of the more compelling child performances in recent memory in \u003cem>Don’t Let’s Go to the Dogs Tonight.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13978477']It’s a performance that was seeded, watered and nurtured by Embeth Davidtz, an extraordinary actor herself who wrote, directed and stars in this adaptation of Alexandra Fuller’s admired 2001 memoir. One imagines Davidtz, in her triple role (and as a first-time director), had hundreds upon hundreds of decisions to make. Her most important, though, was finding and casting this youngster possessed of a wild nature, a mop of unruly hair and a face like a broad canvas waiting to be painted.\u003c/p>\n\u003cp>The movie, which chronicles one family’s life in the turbulent, waning days of white rule in Zimbabwe (formerly Rhodesia), was not always going to be narrated by a child. Davidtz’s first attempt at adapting the memoir, told in third person, was too remote, she herself has said. Then she zoomed in on the idea of telling the tale uniquely from Bobo’s perspective.\u003c/p>\n\u003cp>Davidtz, who spent much of her childhood in South Africa, was drawn to the project because it recalled her own experience growing up in a world where racial inequality and violence were everywhere, but none of the adult explanations made much sense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director’s own family life also included, like the Fuller family’s, mental illness and alcoholism; she has said that neither the outside world nor home life felt safe.\u003c/p>\n\u003cp>And that’s how it is for Bobo, 8 years old when we meet her, the younger of two daughters of Nicola and Tim Fuller. We will soon learn that another daughter died as a toddler in a tragic drowning — one of the reasons Nicola (Davidtz) is so emotionally tied to the family farm, as conveyed in one particularly brutal scene brimming with rage. She may not be native to the land, but her offspring is buried in its soil.\u003c/p>\n\u003cp>[aside postid='arts_13978372']We begin with Bobo explaining how she’s afraid to go alone to pee in the night. “Terrorists,” as they’ve been described by the adults, might lurk anywhere, even on the way to the bathroom, carrying a gun or knife or spear.\u003c/p>\n\u003cp>But imaginary threats are accompanied by real ones. During the day, a trip into town with her mother necessitates an escort vehicle. “I really hope we don’t die in an ambush today,” Bobo says casually to an armed guard. This is a child who helps her Dad pack his ammo at breakfast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WoDuyG6jLyA\u003c/p>\n\u003cp>The film, shot in South Africa, is set in the days before and after the 1980 parliamentary election — a crucial vote that will bring the Black majority to power in Zimbabwe under Robert Mugabe. Visiting her parents’ home, Nicola patronizingly instructs their Black servants which candidate to support.\u003c/p>\n\u003cp>At home, Nicola’s desperation rages. She drinks bourbon by the bottle and sleeps with a huge gun. She doesn’t spend much time with her daughters, which leaves Bobo plenty of time to hang out with the animals, ride her motorbike, and smoke cigarettes.\u003c/p>\n\u003cp>Such habits earn Bobo the disapproval of her most valued friend, Sarah (Zikhona Bali, in a warm and nuanced performance), one of two adult servants who work on the farm. The other is Jacob (Fumani N. Shilubana), who warns Sarah that her relationship with Bobo is too publicly affectionate in these precarious times. Besides, he tells her, Bobo thinks of her as a “stupid village girl.”\u003c/p>\n\u003cp>[aside postid='arts_13978260']But there is real affection between the two. Privately, they laugh and share stories. And Sarah, conscious of the risks, tries to be the attentive parent Bobo lacks. When she catches the girl, messy-haired and smudgy-faced, smoking — at age 7! — she scolds her. “There’s nothing wrong with me, I’m perfect!” Bobo replies, with the self-belief that comes from a childhood spent bossing around people like Sarah.\u003c/p>\n\u003cp>You can direct moments like this, as Davidtz does expertly while somehow turning in a heartbreaking and increasingly unhinged performance of her own. But you can’t manufacture lightning in a bottle — for example, the infectious joy Venter exudes, even while family is losing everything, singing a rowdy song about a stripper.\u003c/p>\n\u003cp>Davidtz has said she searched far and wide to find her star, interviewing experienced child actors but not finding the “feral” girl she needed. A Facebook search yielded Venter. Davidtz knew she was right before even meeting her in person. Working with the girl three hours a day, she did not give her a script, but rather provided guidance and let her improvise.\u003c/p>\n\u003cp>Nobody’s perfect, though Bobo may think she is. But in Venter’s performance, Davidtz has found something pretty close: a child actor who can carry an entire film and never seem like she’s acting. Bobo’s story has now been told; let’s hope we see young Venter telling many more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Let’s Go to the Dogs Tonight’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a performance that was seeded, watered and nurtured by Embeth Davidtz, an extraordinary actor herself who wrote, directed and stars in this adaptation of Alexandra Fuller’s admired 2001 memoir. One imagines Davidtz, in her triple role (and as a first-time director), had hundreds upon hundreds of decisions to make. Her most important, though, was finding and casting this youngster possessed of a wild nature, a mop of unruly hair and a face like a broad canvas waiting to be painted.\u003c/p>\n\u003cp>The movie, which chronicles one family’s life in the turbulent, waning days of white rule in Zimbabwe (formerly Rhodesia), was not always going to be narrated by a child. Davidtz’s first attempt at adapting the memoir, told in third person, was too remote, she herself has said. Then she zoomed in on the idea of telling the tale uniquely from Bobo’s perspective.\u003c/p>\n\u003cp>Davidtz, who spent much of her childhood in South Africa, was drawn to the project because it recalled her own experience growing up in a world where racial inequality and violence were everywhere, but none of the adult explanations made much sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director’s own family life also included, like the Fuller family’s, mental illness and alcoholism; she has said that neither the outside world nor home life felt safe.\u003c/p>\n\u003cp>And that’s how it is for Bobo, 8 years old when we meet her, the younger of two daughters of Nicola and Tim Fuller. We will soon learn that another daughter died as a toddler in a tragic drowning — one of the reasons Nicola (Davidtz) is so emotionally tied to the family farm, as conveyed in one particularly brutal scene brimming with rage. She may not be native to the land, but her offspring is buried in its soil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We begin with Bobo explaining how she’s afraid to go alone to pee in the night. “Terrorists,” as they’ve been described by the adults, might lurk anywhere, even on the way to the bathroom, carrying a gun or knife or spear.\u003c/p>\n\u003cp>But imaginary threats are accompanied by real ones. During the day, a trip into town with her mother necessitates an escort vehicle. “I really hope we don’t die in an ambush today,” Bobo says casually to an armed guard. This is a child who helps her Dad pack his ammo at breakfast.\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/WoDuyG6jLyA'\n title='//www.youtube.com/embed/WoDuyG6jLyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film, shot in South Africa, is set in the days before and after the 1980 parliamentary election — a crucial vote that will bring the Black majority to power in Zimbabwe under Robert Mugabe. Visiting her parents’ home, Nicola patronizingly instructs their Black servants which candidate to support.\u003c/p>\n\u003cp>At home, Nicola’s desperation rages. She drinks bourbon by the bottle and sleeps with a huge gun. She doesn’t spend much time with her daughters, which leaves Bobo plenty of time to hang out with the animals, ride her motorbike, and smoke cigarettes.\u003c/p>\n\u003cp>Such habits earn Bobo the disapproval of her most valued friend, Sarah (Zikhona Bali, in a warm and nuanced performance), one of two adult servants who work on the farm. The other is Jacob (Fumani N. Shilubana), who warns Sarah that her relationship with Bobo is too publicly affectionate in these precarious times. Besides, he tells her, Bobo thinks of her as a “stupid village girl.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there is real affection between the two. Privately, they laugh and share stories. And Sarah, conscious of the risks, tries to be the attentive parent Bobo lacks. When she catches the girl, messy-haired and smudgy-faced, smoking — at age 7! — she scolds her. “There’s nothing wrong with me, I’m perfect!” Bobo replies, with the self-belief that comes from a childhood spent bossing around people like Sarah.\u003c/p>\n\u003cp>You can direct moments like this, as Davidtz does expertly while somehow turning in a heartbreaking and increasingly unhinged performance of her own. But you can’t manufacture lightning in a bottle — for example, the infectious joy Venter exudes, even while family is losing everything, singing a rowdy song about a stripper.\u003c/p>\n\u003cp>Davidtz has said she searched far and wide to find her star, interviewing experienced child actors but not finding the “feral” girl she needed. A Facebook search yielded Venter. Davidtz knew she was right before even meeting her in person. Working with the girl three hours a day, she did not give her a script, but rather provided guidance and let her improvise.\u003c/p>\n\u003cp>Nobody’s perfect, though Bobo may think she is. But in Venter’s performance, Davidtz has found something pretty close: a child actor who can carry an entire film and never seem like she’s acting. Bobo’s story has now been told; let’s hope we see young Venter telling many more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Let’s Go to the Dogs Tonight’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The title of the stunning \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">BAMPFA\u003c/a> retrospective \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">\u003cem>Mikio Naruse: The Auteur as Salaryman\u003c/em>\u003c/a>, continuing through Dec. 21, neatly captures the artistic and pragmatic duality of the great 20th century Japanese director. In a career that spanned four decades and 89 films, Naruse refined his unflinching perspective on the plight of women while meeting the bottom-line demands of his studio bosses.\u003c/p>\n\u003cp>It’s fascinating to revisit Naruse’s films, especially the haunting landmarks \u003cem>Floating Clouds\u003c/em> and \u003cem>Yearning\u003c/em>, from a post-post-feminist perspective. The director mostly worked in the shomin-geki genre — set among the lower middle classes — where women, in particular, struggled with limited economic opportunities (if they weren’t “fortunate” enough to marry a well-off man). \u003c/p>\n\u003cp>A fatalist by nature, Naruse (1905-69) didn’t soft-soap his female characters’ endless sacrifices and thwarted dreams with dime-store hope and sentimentality. And yet while his movies depict the ritualistic inflexibility of pre-war Japanese society, and the postwar cracks and corruption that unmoored the system (with the loss of a generation of young men complicating women’s plans and prospects), Naruse’s women are persistently proactive in the face of every obstacle and constraint.\u003c/p>\n\u003cfigure id=\"attachment_13978501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg\" alt=\"\" width=\"2000\" height=\"1424\" class=\"size-full wp-image-13978501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-1536x1094.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘When a Woman Ascends the Stairs’ (1960). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late in his career, which wrapped in 1967, Naruse said of his characters, “If they move even a little, they quickly hit the wall. From the youngest age, I have thought that the world we live in betrays us; this thought still remains with me.”\u003c/p>\n\u003cp>Melodrama often entails tragedy, but Nakuse-style shomin-geki is worlds away from, say, the nihilistic doom of film noir. His female protagonists are generally moral, sincere and direct, not to mention valiant. Determined to gain a small measure of happiness, they don’t give up. The stakes are great; respect must be paid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A contemporary of pantheon directors Kenji Mizoguchi and Yasujirō Ozu, Naruse used every filmmaking technique in the book when he finally got his shot at the director’s chair in 1930 after a decade as a prop man and set assistant. He gradually abandoned his experimentalism as the Silent Era gave way to the talkies and the ’30s became the ’40s, opting for a classical visual language that situated his characters in their domestic settings and highlighted their emotional lives.\u003c/p>\n\u003cfigure id=\"attachment_13978498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg\" alt=\"\" width=\"2000\" height=\"1420\" class=\"size-full wp-image-13978498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-1536x1091.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Floating Clouds’ (1955). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naruse’s essential 1955 film \u003cem>Floating Clouds\u003c/em> (screening July 16 and Sept. 14) employs enough exterior shots to convey the destruction and shock of Japan’s defeat in WWII, and to create a dismal contrast with the sun-dappled Indochina woods where Forestry Service newbie Yukiko (frequent Naruse star Hideko Takamine) had a wartime affair with her married older boss Kengo (Masayuki Mori). As Yukiko seeks to create a postwar life amid the ruins with her manipulative, self-pitying flame, the timelessly profound drama unfolds mostly indoors, in various homes, bars and inns that, paradoxically, provide no refuge for the erstwhile lovers.\u003c/p>\n\u003cp>A year later, Takamine played a slightly less desperate character in the mesmerizing women-in-the-workplace saga \u003cem>Flowing\u003c/em> (July 19 and Sept. 12). The office space, ahem, is a waning geisha house; cash-strapped proprietor Otsuta (Isuzu Yamada) is holding on amid changing times while daughter Katsuyo (Takamine) tries to plot a future involving neither the family business nor a husband. \u003c/p>\n\u003cp>Takamine is a sublime actress, able to communicate to the audience with her face and the smallest movement the opposite of whatever her character has just said. Naruse’s 1964 masterpiece \u003cem>Yearning\u003c/em> (Aug. 15 and Sept. 21) centers her as Reiko, the hardworking, late-30s proprietor of a family grocery store. Reiko was married to the family’s oldest son for all of six months before he was killed in the war, and she has remained a widow all these years.\u003c/p>\n\u003cfigure id=\"attachment_13978499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13978499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-1536x1014.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Yearning’ (1964). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her status in the family, her sweat equity in the store and her identity are all jeopardized by the supermarkets that have invaded her Tokyo suburb. The other factor upsetting the longstanding status quo is her ne’er-do-well brother-in-law, Koji (Yuzo Kayama, doing a credible Montgomery Clift), who was a young boy when Reiko came into his world.\u003c/p>\n\u003cp>Filmed in glorious widescreen black-and-white, \u003cem>Yearning\u003c/em> is fantastic from start to finish. Reiko has mastered the art of self-sacrifice, up to a specific point: she bends but does not break. That’s a necessary quality when even those who love you, and want to help, don’t come through in a pinch.\u003c/p>\n\u003cp>For the women in Mikio Naruse’s world, even the limited opportunities come with strings attached. This is a distressing view of the world, but Naruse doesn’t leave the viewer hopeless. His judgment-free outlook and unfailing empathy provide the outline for a kinder society. He stands with the other great humanists of the cinema, Jean Renoir and especially Satyajit Ray, as a chronicler of our grace and dignity as well as our cruelty and selfishness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mikio Naruse: The Auteur as Salaryman’ runs through Dec. 21 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of the stunning \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">BAMPFA\u003c/a> retrospective \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">\u003cem>Mikio Naruse: The Auteur as Salaryman\u003c/em>\u003c/a>, continuing through Dec. 21, neatly captures the artistic and pragmatic duality of the great 20th century Japanese director. In a career that spanned four decades and 89 films, Naruse refined his unflinching perspective on the plight of women while meeting the bottom-line demands of his studio bosses.\u003c/p>\n\u003cp>It’s fascinating to revisit Naruse’s films, especially the haunting landmarks \u003cem>Floating Clouds\u003c/em> and \u003cem>Yearning\u003c/em>, from a post-post-feminist perspective. The director mostly worked in the shomin-geki genre — set among the lower middle classes — where women, in particular, struggled with limited economic opportunities (if they weren’t “fortunate” enough to marry a well-off man). \u003c/p>\n\u003cp>A fatalist by nature, Naruse (1905-69) didn’t soft-soap his female characters’ endless sacrifices and thwarted dreams with dime-store hope and sentimentality. And yet while his movies depict the ritualistic inflexibility of pre-war Japanese society, and the postwar cracks and corruption that unmoored the system (with the loss of a generation of young men complicating women’s plans and prospects), Naruse’s women are persistently proactive in the face of every obstacle and constraint.\u003c/p>\n\u003cfigure id=\"attachment_13978501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg\" alt=\"\" width=\"2000\" height=\"1424\" class=\"size-full wp-image-13978501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-1536x1094.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘When a Woman Ascends the Stairs’ (1960). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late in his career, which wrapped in 1967, Naruse said of his characters, “If they move even a little, they quickly hit the wall. From the youngest age, I have thought that the world we live in betrays us; this thought still remains with me.”\u003c/p>\n\u003cp>Melodrama often entails tragedy, but Nakuse-style shomin-geki is worlds away from, say, the nihilistic doom of film noir. His female protagonists are generally moral, sincere and direct, not to mention valiant. Determined to gain a small measure of happiness, they don’t give up. The stakes are great; respect must be paid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A contemporary of pantheon directors Kenji Mizoguchi and Yasujirō Ozu, Naruse used every filmmaking technique in the book when he finally got his shot at the director’s chair in 1930 after a decade as a prop man and set assistant. He gradually abandoned his experimentalism as the Silent Era gave way to the talkies and the ’30s became the ’40s, opting for a classical visual language that situated his characters in their domestic settings and highlighted their emotional lives.\u003c/p>\n\u003cfigure id=\"attachment_13978498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg\" alt=\"\" width=\"2000\" height=\"1420\" class=\"size-full wp-image-13978498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-1536x1091.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Floating Clouds’ (1955). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naruse’s essential 1955 film \u003cem>Floating Clouds\u003c/em> (screening July 16 and Sept. 14) employs enough exterior shots to convey the destruction and shock of Japan’s defeat in WWII, and to create a dismal contrast with the sun-dappled Indochina woods where Forestry Service newbie Yukiko (frequent Naruse star Hideko Takamine) had a wartime affair with her married older boss Kengo (Masayuki Mori). As Yukiko seeks to create a postwar life amid the ruins with her manipulative, self-pitying flame, the timelessly profound drama unfolds mostly indoors, in various homes, bars and inns that, paradoxically, provide no refuge for the erstwhile lovers.\u003c/p>\n\u003cp>A year later, Takamine played a slightly less desperate character in the mesmerizing women-in-the-workplace saga \u003cem>Flowing\u003c/em> (July 19 and Sept. 12). The office space, ahem, is a waning geisha house; cash-strapped proprietor Otsuta (Isuzu Yamada) is holding on amid changing times while daughter Katsuyo (Takamine) tries to plot a future involving neither the family business nor a husband. \u003c/p>\n\u003cp>Takamine is a sublime actress, able to communicate to the audience with her face and the smallest movement the opposite of whatever her character has just said. Naruse’s 1964 masterpiece \u003cem>Yearning\u003c/em> (Aug. 15 and Sept. 21) centers her as Reiko, the hardworking, late-30s proprietor of a family grocery store. Reiko was married to the family’s oldest son for all of six months before he was killed in the war, and she has remained a widow all these years.\u003c/p>\n\u003cfigure id=\"attachment_13978499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13978499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-1536x1014.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Yearning’ (1964). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her status in the family, her sweat equity in the store and her identity are all jeopardized by the supermarkets that have invaded her Tokyo suburb. The other factor upsetting the longstanding status quo is her ne’er-do-well brother-in-law, Koji (Yuzo Kayama, doing a credible Montgomery Clift), who was a young boy when Reiko came into his world.\u003c/p>\n\u003cp>Filmed in glorious widescreen black-and-white, \u003cem>Yearning\u003c/em> is fantastic from start to finish. Reiko has mastered the art of self-sacrifice, up to a specific point: she bends but does not break. That’s a necessary quality when even those who love you, and want to help, don’t come through in a pinch.\u003c/p>\n\u003cp>For the women in Mikio Naruse’s world, even the limited opportunities come with strings attached. This is a distressing view of the world, but Naruse doesn’t leave the viewer hopeless. His judgment-free outlook and unfailing empathy provide the outline for a kinder society. He stands with the other great humanists of the cinema, Jean Renoir and especially Satyajit Ray, as a chronicler of our grace and dignity as well as our cruelty and selfishness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mikio Naruse: The Auteur as Salaryman’ runs through Dec. 21 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "saaed-crumpler-oakland-bravemaker-film-festival",
"title": "An Oakland Rapper-Turned-Screenwriter Returns to the Bay Area",
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"content": "\u003cp>When Saeed Crumpler comes to the Bay Area this weekend for the \u003ca href=\"https://bravemaker.com/film-fest/\">BraveMaker \u003c/a>\u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">Film Festival\u003c/a>, he’ll be returning to the soil that launched an unlikely journey.\u003c/p>\n\u003cp>For 20 years, the Oakland-raised Crumpler rapped under the stage name \u003ca href=\"https://www.instagram.com/balance510/\">Balance\u003c/a>, making music with \u003ca href=\"https://open.spotify.com/track/1uWkVUZVqH5142GmIZvWWM#:~:text=Fa%20Sho%20(feat.,%2C%20Jay%20Rock%2C%20Freeway%20%7C%20Spotify\">Kendrick Lamar\u003c/a> and \u003ca href=\"https://open.spotify.com/track/4pU8UwbehBafBSAu4zFEeq?si=0e7f32df5d1e41a4\">Traxamillion\u003c/a> before flipping the script in 2021 to become a full-time television and film writer. \u003c/p>\n\u003cp>On Saturday, Crumpler appears alongside podcast host \u003ca href=\"https://www.instagram.com/hilliardguess/\" target=\"_blank\" rel=\"noopener\">Hilliard Guess\u003c/a> at the film festival’s \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836717aa36cd38e4e27ab56\" target=\"_blank\" rel=\"noopener\">Screenwriters’ Rant Room “Live” Roundtable\u003c/a> to discuss his unconventional path to Hollywood and unique approach to the industry.\u003c/p>\n\u003cp>[aside postID='arts_13978193']Running July 10–13 in Redwood City, the BraveMaker Film Festival includes more than 90 film screenings, a dozen workshops and multiple panel discussions ranging from lighting techniques to character development. Founded by Redwood City’s own Tony Gapastione, the festival brings together Bay Area writers, filmmakers and actors to showcase their talents.\u003c/p>\n\u003cp>Gapastione says such platforms are important, particularly now, as Hollywood makes \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\" target=\"_blank\" rel=\"noopener\">post-writers strike adjustments\u003c/a> and simultaneously recovers from \u003ca href=\"https://www.kqed.org/news/12020765/thousands-flee-los-angeles-area-as-wildfires-burn-out-of-control-destroying-homes\" target=\"_blank\" rel=\"noopener\">this year’s massive fires\u003c/a>. Those challenges have been echoed by Governor Newsom, who last week \u003ca href=\"https://www.gov.ca.gov/2025/07/02/governor-newsom-marks-historic-expansion-of-californias-film-and-television-tax-credit-program-announces-16-new-projects-to-film-in-the-golden-state/\" target=\"_blank\" rel=\"noopener\">signed a bill\u003c/a> more than doubling the annual funding of California’s film and television tax credit program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> for this year’s BraveMaker Film Festival includes a variety of films, including a handful from East Bay screenwriters, like Kristina Thomas (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836709e05fd0071757f4141\" target=\"_blank\" rel=\"noopener\">\u003cem>Saving All My Love\u003c/em>\u003c/a>), Nijla Mu’min (\u003cem>\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502a8\" target=\"_blank\" rel=\"noopener\">Noor\u003c/a>)\u003c/em> and D’Angelo “D’Lo” Louis (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502c5\" target=\"_blank\" rel=\"noopener\">\u003cem>Shoebox\u003c/em>\u003c/a>). Social events include a Saturday afternoon mixer hosted by Bay Area actor \u003ca href=\"https://www.eventbrite.com/e/latino-creatorsactorsfilmmakers-mixer-bravemaker-film-fest-tickets-1406816739739?msockid=170b5be2715564360361492870d165a9\" target=\"_blank\" rel=\"noopener\">Belgica Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978430\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978430 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-768x1152.jpg 768w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Saaed Crumpler, TV and film writer. \u003ccite>(Jerry Jerome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to his rap career, Crumpler studied film at San Francisco State, and a decade ago he took a screenwriting class. But he sincerely champions the fellowship route, which led to him working on the Starz series \u003cem>Blindspotting\u003c/em> and MTV’s \u003cem>Hip Hop Family Christmas\u003c/em>.\u003c/p>\n\u003cp>In 2021, while still rapping, Crumpler got accepted to the \u003ca href=\"https://writers.coverfly.com/competitions/view/nickelodeon-writing-program\" target=\"_blank\" rel=\"noopener\">Nickelodeon Writing Program\u003c/a>. He shadowed writers and worked across Paramount Pictures’ many subsidiaries. Once his foot was in the door, Crumpler went right in.\u003c/p>\n\u003cp>“I wrote an episode of a Nickelodeon show called \u003cem>Blaze and the Monster Machines\u003c/em>, which my nephew, he’s three, loves,” Crumpler says. Simultaneously, he wrote \u003cem>Flatbush Misdemeanors\u003c/em>, “an R-rated comedy that takes place in Flatbush, New York.” \u003c/p>\n\u003cp>[aside postID='arts_13978142']Within a year, Crumpler signed a first-look deal with \u003ca href=\"https://deadline.com/2022/09/saeed-crumpler-overall-deal-sony-pictures-television-1235112994/\">Sony Pictures Television,\u003c/a> where he’s currently at work on several projects. “I’ve got an animated show, got a comedy, and we’ve got like two dramas,” says Crumpler. “All of them take place pretty much in the Bay Area.”\u003c/p>\n\u003cp>The lack of Bay Area representation in TV and film pushed Crumpler to focus on hometown stories, he says, noting that he’s also written a number of unreleased movies, including a biopic on \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a>.\u003c/p>\n\u003cp>Ahead of Saturday’s conversation, Crumpler, who lives in Los Angeles, offered some advice to storytellers looking to get into the industry.\u003c/p>\n\u003cp>Hollywood is indeed in flux, he says. It’s not as easy to film in Southern California as it once was, but the industry hub is still there. And while he’s a proponent of the fellowship route, he sees potential for indie television and filmmakers. It’s not exactly the same as the independent rap game in the Bay Area — where artists both make and distribute their art — but there are some parallels, he says.\u003c/p>\n\u003cp>[aside postID='arts_13976029']“Instead of trying to make a movie for five thousand dollars,” Crumpler suggests, “try to make a three-minute trailer for the movie,” adding that filmmakers can take that as proof of concept to investors; it’s all about making a small iteration of an idea in order to show it to the world.\u003c/p>\n\u003cp>“As an independent creator, your benefit is, you don’t have anybody trying to change your ideas,” he says. “Being an independent creative, you can just create and put it out without a filter. And sometimes those things take off.”\u003c/p>\n\u003cp>This weekend, Redwood City will be full of creatives looking to launch their ideas into the world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BraveMaker Film Festival takes place July 10–13 at various venues in downtown Redwood City. \u003ca href=\"https://bravemaker.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Saeed Crumpler comes to the Bay Area this weekend for the \u003ca href=\"https://bravemaker.com/film-fest/\">BraveMaker \u003c/a>\u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">Film Festival\u003c/a>, he’ll be returning to the soil that launched an unlikely journey.\u003c/p>\n\u003cp>For 20 years, the Oakland-raised Crumpler rapped under the stage name \u003ca href=\"https://www.instagram.com/balance510/\">Balance\u003c/a>, making music with \u003ca href=\"https://open.spotify.com/track/1uWkVUZVqH5142GmIZvWWM#:~:text=Fa%20Sho%20(feat.,%2C%20Jay%20Rock%2C%20Freeway%20%7C%20Spotify\">Kendrick Lamar\u003c/a> and \u003ca href=\"https://open.spotify.com/track/4pU8UwbehBafBSAu4zFEeq?si=0e7f32df5d1e41a4\">Traxamillion\u003c/a> before flipping the script in 2021 to become a full-time television and film writer. \u003c/p>\n\u003cp>On Saturday, Crumpler appears alongside podcast host \u003ca href=\"https://www.instagram.com/hilliardguess/\" target=\"_blank\" rel=\"noopener\">Hilliard Guess\u003c/a> at the film festival’s \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836717aa36cd38e4e27ab56\" target=\"_blank\" rel=\"noopener\">Screenwriters’ Rant Room “Live” Roundtable\u003c/a> to discuss his unconventional path to Hollywood and unique approach to the industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Running July 10–13 in Redwood City, the BraveMaker Film Festival includes more than 90 film screenings, a dozen workshops and multiple panel discussions ranging from lighting techniques to character development. Founded by Redwood City’s own Tony Gapastione, the festival brings together Bay Area writers, filmmakers and actors to showcase their talents.\u003c/p>\n\u003cp>Gapastione says such platforms are important, particularly now, as Hollywood makes \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\" target=\"_blank\" rel=\"noopener\">post-writers strike adjustments\u003c/a> and simultaneously recovers from \u003ca href=\"https://www.kqed.org/news/12020765/thousands-flee-los-angeles-area-as-wildfires-burn-out-of-control-destroying-homes\" target=\"_blank\" rel=\"noopener\">this year’s massive fires\u003c/a>. Those challenges have been echoed by Governor Newsom, who last week \u003ca href=\"https://www.gov.ca.gov/2025/07/02/governor-newsom-marks-historic-expansion-of-californias-film-and-television-tax-credit-program-announces-16-new-projects-to-film-in-the-golden-state/\" target=\"_blank\" rel=\"noopener\">signed a bill\u003c/a> more than doubling the annual funding of California’s film and television tax credit program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> for this year’s BraveMaker Film Festival includes a variety of films, including a handful from East Bay screenwriters, like Kristina Thomas (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836709e05fd0071757f4141\" target=\"_blank\" rel=\"noopener\">\u003cem>Saving All My Love\u003c/em>\u003c/a>), Nijla Mu’min (\u003cem>\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502a8\" target=\"_blank\" rel=\"noopener\">Noor\u003c/a>)\u003c/em> and D’Angelo “D’Lo” Louis (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502c5\" target=\"_blank\" rel=\"noopener\">\u003cem>Shoebox\u003c/em>\u003c/a>). Social events include a Saturday afternoon mixer hosted by Bay Area actor \u003ca href=\"https://www.eventbrite.com/e/latino-creatorsactorsfilmmakers-mixer-bravemaker-film-fest-tickets-1406816739739?msockid=170b5be2715564360361492870d165a9\" target=\"_blank\" rel=\"noopener\">Belgica Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978430\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978430 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-768x1152.jpg 768w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Saaed Crumpler, TV and film writer. \u003ccite>(Jerry Jerome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to his rap career, Crumpler studied film at San Francisco State, and a decade ago he took a screenwriting class. But he sincerely champions the fellowship route, which led to him working on the Starz series \u003cem>Blindspotting\u003c/em> and MTV’s \u003cem>Hip Hop Family Christmas\u003c/em>.\u003c/p>\n\u003cp>In 2021, while still rapping, Crumpler got accepted to the \u003ca href=\"https://writers.coverfly.com/competitions/view/nickelodeon-writing-program\" target=\"_blank\" rel=\"noopener\">Nickelodeon Writing Program\u003c/a>. He shadowed writers and worked across Paramount Pictures’ many subsidiaries. Once his foot was in the door, Crumpler went right in.\u003c/p>\n\u003cp>“I wrote an episode of a Nickelodeon show called \u003cem>Blaze and the Monster Machines\u003c/em>, which my nephew, he’s three, loves,” Crumpler says. Simultaneously, he wrote \u003cem>Flatbush Misdemeanors\u003c/em>, “an R-rated comedy that takes place in Flatbush, New York.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Within a year, Crumpler signed a first-look deal with \u003ca href=\"https://deadline.com/2022/09/saeed-crumpler-overall-deal-sony-pictures-television-1235112994/\">Sony Pictures Television,\u003c/a> where he’s currently at work on several projects. “I’ve got an animated show, got a comedy, and we’ve got like two dramas,” says Crumpler. “All of them take place pretty much in the Bay Area.”\u003c/p>\n\u003cp>The lack of Bay Area representation in TV and film pushed Crumpler to focus on hometown stories, he says, noting that he’s also written a number of unreleased movies, including a biopic on \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a>.\u003c/p>\n\u003cp>Ahead of Saturday’s conversation, Crumpler, who lives in Los Angeles, offered some advice to storytellers looking to get into the industry.\u003c/p>\n\u003cp>Hollywood is indeed in flux, he says. It’s not as easy to film in Southern California as it once was, but the industry hub is still there. And while he’s a proponent of the fellowship route, he sees potential for indie television and filmmakers. It’s not exactly the same as the independent rap game in the Bay Area — where artists both make and distribute their art — but there are some parallels, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Instead of trying to make a movie for five thousand dollars,” Crumpler suggests, “try to make a three-minute trailer for the movie,” adding that filmmakers can take that as proof of concept to investors; it’s all about making a small iteration of an idea in order to show it to the world.\u003c/p>\n\u003cp>“As an independent creator, your benefit is, you don’t have anybody trying to change your ideas,” he says. “Being an independent creative, you can just create and put it out without a filter. And sometimes those things take off.”\u003c/p>\n\u003cp>This weekend, Redwood City will be full of creatives looking to launch their ideas into the world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BraveMaker Film Festival takes place July 10–13 at various venues in downtown Redwood City. \u003ca href=\"https://bravemaker.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "superman-movie-review-james-gunn-david-corenswet",
"title": "James Gunn’s ‘Superman’ Is a Surprising and Creative Immigrant Story",
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"headTitle": "James Gunn’s ‘Superman’ Is a Surprising and Creative Immigrant Story | KQED",
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"content": "\u003cp>It’s a bird, it’s a plane, it’s a … a purple and orange shape-shifting chemical compound?\u003c/p>\n\u003cp>Writer-director James Gunn’s \u003ca href=\"https://www.kqed.org/pop/tag/superman\">\u003cem>Superman\u003c/em>\u003c/a> was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind \u003ca href=\"https://www.kqed.org/arts/13928607/all-creatures-great-and-small-in-guardians-3\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> and \u003cem>The Suicide Squad\u003c/em>, has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.\u003c/p>\n\u003cp>[aside postid='pop_101544']But you don’t get more mainstream than Superman. And let’s face it, unless \u003ca href=\"https://www.kqed.org/arts/13964034/super-man-documentary-review-christopher-reeve-dana-cnn-hbo\">Christopher Reeve\u003c/a> is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.\u003c/p>\n\u003cp>In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (\u003ca href=\"https://www.kqed.org/arts/13816633/zippy-and-delightful-the-marvelous-mrs-maisel-spotlights-an-unlikely-comic\">Rachel Brosnahan\u003c/a>) and Lex Luthor (\u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">Nicholas Hoult\u003c/a>) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (\u003ca href=\"https://www.kqed.org/arts/13927815/barry-season-four-hbo-what-to-expect-bill-hader-interview\">Anthony Carrigan\u003c/a>).\u003c/p>\n\u003cp>Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in \u003cem>Superman\u003c/em>. But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like \u003ca href=\"https://www.kqed.org/pop/tag/chris-pratt\">Chris Pratt\u003c/a>’s Star-Lord in \u003cem>Guardians of the Galaxy\u003c/em>. And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The heavy lift of \u003cem>Superman\u003c/em> is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.\u003c/p>\n\u003cp>Not everything works in \u003cem>Superman\u003c/em>. For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found \u003ca href=\"https://www.kqed.org/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good\">Zack Snyder\u003c/a>’s previous administration painfully ponderous, this \u003cem>Superman\u003c/em>, at least, has a pulse.\u003c/p>\n\u003cp>[aside postid='arts_13978110']It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s \u003cem>Superman\u003c/em> is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.\u003c/p>\n\u003cp>We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ox8ZLF6cGM0\u003c/p>\n\u003cp>Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.\u003c/p>\n\u003cp>[aside postid='arts_13978260']Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.\u003c/p>\n\u003cp>She and Kent are already an item in \u003cem>Superman\u003c/em>. When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if \u003cem>Superman\u003c/em> ought to have been \u003cem>Lois\u003c/em>, instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.\u003c/p>\n\u003cp>That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.\u003c/p>\n\u003cp>The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn’s juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that’s Krypto’s cue to fly back into the movie and run amok.\u003c/p>\n\u003cp>[aside postid='arts_13978142']Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien” by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, \u003cem>Superman\u003c/em> is an immigrant story.\u003c/p>\n\u003cp>Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect \u003cem>Superman\u003c/em> something quite rare in the assembly line-style of superhero moviemaking today: human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Superman’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a bird, it’s a plane, it’s a … a purple and orange shape-shifting chemical compound?\u003c/p>\n\u003cp>Writer-director James Gunn’s \u003ca href=\"https://www.kqed.org/pop/tag/superman\">\u003cem>Superman\u003c/em>\u003c/a> was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind \u003ca href=\"https://www.kqed.org/arts/13928607/all-creatures-great-and-small-in-guardians-3\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> and \u003cem>The Suicide Squad\u003c/em>, has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But you don’t get more mainstream than Superman. And let’s face it, unless \u003ca href=\"https://www.kqed.org/arts/13964034/super-man-documentary-review-christopher-reeve-dana-cnn-hbo\">Christopher Reeve\u003c/a> is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.\u003c/p>\n\u003cp>In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (\u003ca href=\"https://www.kqed.org/arts/13816633/zippy-and-delightful-the-marvelous-mrs-maisel-spotlights-an-unlikely-comic\">Rachel Brosnahan\u003c/a>) and Lex Luthor (\u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">Nicholas Hoult\u003c/a>) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (\u003ca href=\"https://www.kqed.org/arts/13927815/barry-season-four-hbo-what-to-expect-bill-hader-interview\">Anthony Carrigan\u003c/a>).\u003c/p>\n\u003cp>Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in \u003cem>Superman\u003c/em>. But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like \u003ca href=\"https://www.kqed.org/pop/tag/chris-pratt\">Chris Pratt\u003c/a>’s Star-Lord in \u003cem>Guardians of the Galaxy\u003c/em>. And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The heavy lift of \u003cem>Superman\u003c/em> is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.\u003c/p>\n\u003cp>Not everything works in \u003cem>Superman\u003c/em>. For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found \u003ca href=\"https://www.kqed.org/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good\">Zack Snyder\u003c/a>’s previous administration painfully ponderous, this \u003cem>Superman\u003c/em>, at least, has a pulse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s \u003cem>Superman\u003c/em> is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.\u003c/p>\n\u003cp>We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.\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/Ox8ZLF6cGM0'\n title='//www.youtube.com/embed/Ox8ZLF6cGM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.\u003c/p>\n\u003cp>She and Kent are already an item in \u003cem>Superman\u003c/em>. When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if \u003cem>Superman\u003c/em> ought to have been \u003cem>Lois\u003c/em>, instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.\u003c/p>\n\u003cp>That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.\u003c/p>\n\u003cp>The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn’s juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that’s Krypto’s cue to fly back into the movie and run amok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien” by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, \u003cem>Superman\u003c/em> is an immigrant story.\u003c/p>\n\u003cp>Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect \u003cem>Superman\u003c/em> something quite rare in the assembly line-style of superhero moviemaking today: human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Superman’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sinners-ryan-coogler-dolly-li-chinese-american-history-documentary",
"title": "How a 2017 Documentary Lent ‘Sinners’ Its Chinese American History",
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"content": "\u003cp>Ryan Coogler’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13974689/ryan-coogler-sinners-michael-b-jordan-horror-film-review\">Sinners\u003c/a>\u003c/em> has been the subject of voluminous discussion since its release on April 17. And now that the blockbuster has hit \u003ca href=\"https://roxie.com/film/sinners/\">second-run theaters\u003c/a> and streaming platforms, even more people are getting a chance to join the conversation around the fictional film’s attention to historical accuracy. \u003c/p>\n\u003cp>[aside postID='arts_13974689']\u003cem>Sinner\u003c/em>’s credits are filled with cultural, language and religious consultants, making it clear that Coogler and his team were determined to get even the most minute details right. The result is a constellation of hyper-specific scenes and references: to hoodoo and African spirituality that survived the slave trade; to racial passing and the one-drop rule; to Irish assimilation into white supremacy; and to the presence and role of Chinese Americans in the Mississippi Delta. \u003c/p>\n\u003cp>Coogler heard stories of Chinese Americans in the Mississippi Delta from his own family, and recognized in them a unique history of American settler colonialism. In an attempt to do right by that history, Coogler consulted \u003ca href=\"https://www.dollyli.com/\">Dolly Li\u003c/a>, the journalist and documentary filmmaker behind the 2017 AJ+ documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=2NMrqGHr5zE\">The Untold Story of America’s Southern Chinese\u003c/a>\u003c/em>. The documentary explores the complex relationships and solidarities forged by Chinese people in the Delta, many of whom operated separate grocery stores to serve the Black and white customers — a manifestation of segregation depicted in \u003ci>Sinners\u003c/i>.\u003c/p>\n\u003cp>https://youtu.be/2NMrqGHr5zE?feature=shared\u003c/p>\n\u003cp>Li pitched the story to AJ+ after witnessing misrepresentations of Southern communities during the 2016 election. Born and raised in New York, Li went to college in Texas before moving to Oakland to begin her journalism career. She learned about the Delta community through Adrienne Beraard’s 2016 book \u003cem>\u003ca href=\"https://www.beacon.org/Water-Tossing-Boulders-P1318.aspx\">Water Tossing Boulders\u003c/a>\u003c/em>, and wanted to connect with the community it depicted. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the Delta Chinese community didn’t greet Li with open arms. Burned by reporters in the past, they were skeptical of people wanting to “tell” their story. In a coincidence of in-person timing (Li happened to be in town for a wedding) and a meeting over pizza, community members asked about Li’s relationship to her own Chinese ancestry. “They’re fourth-, fifth-generation Americans,” she says. “So the idea of having Chinese ancestry is kind of like Irish Americans going back to Ireland to try and find their roots from the 1800s.” \u003c/p>\n\u003cp>They asked Li a lot of questions. “‘What language do you speak? Do you know this word? Have you heard of this?’ And I found that very endearing, because they wanted information from me about their own culture,” she remembers. Rapport secured, the community invited Li and the AJ+ crew into their homes to tell a story many had never heard. A narrative which, seven years after its release, ended up being a critical storyline in \u003cem>Sinners\u003c/em>. \u003c/p>\n\u003ch2>Hollywood comes calling\u003c/h2>\n\u003cp>Li first heard whispers about her documentary being used in a casting call from actor friends. At first she thought someone was making an indie and just not telling her about it. Her investigative personality kicked in. \u003c/p>\n\u003cp>[aside postID='arts_13974810']“Somebody better tell me,” she remembers thinking. “Because I’m gonna find out. One of my actor friends was like, ‘It’s Ryan Coogler.’” She didn’t believe them.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.proximitymedia.com/\">Proximity Media\u003c/a> asked if she was interested in being a consultant, Li was hesitant. “It was exciting, but also really nerve-racking, because I also understood the implication of being the main point person for these characters,” she says of Bo and Grace Chow, the film’s husband-and-wife grocery-store owners played by Yao and Li Jun Li. “And because I don’t know what the script is, I don’t know how these characters are going to be manifested on screen.” \u003c/p>\n\u003cp>When Coogler shared that his family had discovered his father-in-law has Mississippi Delta Chinese ancestry, Li felt relief. “That helped me understand what his curiosity was and his connection to it,” she says. \u003c/p>\n\u003cfigure id=\"attachment_13978157\" class=\"wp-caption aligncenter\" style=\"max-width: 907px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1.png\" alt=\"black-and-white photograph of Black man in print shirt under camera boom\" width=\"907\" height=\"1146\" class=\"size-full wp-image-13978157\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1.png 907w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1-768x970.png 768w\" sizes=\"auto, (max-width: 907px) 100vw, 907px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Coogler on set during the filming of ‘Sinners.’ \u003ccite>(Courtesy of Proximity Media and WB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coogler and his team’s commitment to detail and historical accuracy made it clear to Li that these characters were not an afterthought. The grocery store owners could easily have been cast as Black or white, and no one would have noted an absence of Chinese American representation in \u003cem>Sinners\u003c/em>. Instead Coogler opted to do the more challenging thing, weaving a complex history that forces viewers to confront the violence propelling America’s racial entanglements. \u003c/p>\n\u003cp>Li saw this choice as an act of camaraderie. “It forces you to reckon with their existence and their humanity becomes undeniable,” she says. \u003c/p>\n\u003ch2>Beauty is in the details\u003c/h2>\n\u003cp>Viewers are first privy to this history when we see Lisa Chow (Grace and Bo’s daughter) cross the street from the Min Sang grocery serving Black customers to the store where her mother is serving white customers. \u003c/p>\n\u003cp>This seemingly small detail is evidence of considerable effort and intention. (The crew built an entire set for a scene that lasted mere moments.) Yet it’s this scene that sparked some of the more nuanced conversations about the reality, and absurdity, of Jim Crow segregation. \u003c/p>\n\u003cp>Li worked closely with Monique Champagne, the set designer who created the store, to get everything just right. “Portraying it accurately was so important to her and Ryan and the rest of the production crew,” Li says. “When I saw the store manifest on screen, I screamed a tiny scream out loud. I was just finally seeing all of this work that was put into it come to life.” \u003c/p>\n\u003cfigure id=\"attachment_13978158\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1.png\" alt=\"black-and-white image of Asian woman against shelf of goods\" width=\"1380\" height=\"1146\" class=\"size-full wp-image-13978158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1-768x638.png 768w\" sizes=\"auto, (max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">An on-set photo of actor Li Jun Li, who plays grocery store owner Grace Chow in ‘Sinners.’ \u003ccite>(Courtesy of Proximity Media and WB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Li says this level of attention went into every aspect of the script, and the world \u003ci>Sinners\u003c/i> ultimately portrayed. Li Jun Li and Yao told Li they watched her documentary daily to practice their Southern accents. “I was so excited to hear the accents,” Li says. “I thought they did such an incredible job.” \u003c/p>\n\u003cp>Accents and dialects are crucial elements throughout the film. In the final and most dramatic act, it’s \u003ci>how\u003c/i> certain words are said: the vampire Remmick speaks to Grace Chow directly in Taisan, which Li describes as “a really, really old-school dialect.” \u003c/p>\n\u003cp>“It was the dialect spoken by a lot of early immigrants in the 1800s,” she explains. Remmick speaks not just Grace’s mother tongue, but her village tongue, making the character’s motivations that much clearer. “I think that is probably what triggers the deep fire, anger and fear in Grace,” Li says. “I can see why her character completely lost her shit over it.” \u003c/p>\n\u003cfigure id=\"attachment_13974840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF.jpg\" alt=\"wide group shot of people in barn ready to fight\" width=\"2000\" height=\"727\" class=\"size-full wp-image-13974840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-800x291.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-1020x371.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-768x279.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-1536x558.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-1920x698.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The vampire-fighting squad with Michael B. Jordan, center, and Li Jun Li on the far right.’ \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, \u003cem>Sinners\u003c/em> is still a vampire movie, with all of the horror and horniness the genre requires. As Li was checking in with everyone, she gave Frieda Quon, whose family grocery store inspired the film’s two shops, a call. \u003c/p>\n\u003cp>“She was so funny. She was like, ‘Dolly, what do vampires have to do with being Chinese?’” Li laughed, recalling their exchange. “They are Southern ladies, so they’re like, ‘Oh, well, some of the stuff they were saying is more daring than what we were saying.’ A lot of the sexier scenes and sexier lines are making them blush.”\u003c/p>\n\u003cp>For Jun Stinson Yamagishi, one of the documentary’s producers, the inclusion of the world and history of the Mississippi Delta Chinese in \u003cem>Sinners\u003c/em> was a reminder of the power good journalism and storytelling can wield in society. “It made me really think about the importance of doing this work and telling these stories that aren’t being widely told,” Yamagishi says. “They influence historical memory, and then they influence art.”\u003c/p>\n\u003cp>It all comes down to being able to see marginalized communities as real people, with real stories and lineages worth preserving, remembering and exploring — especially on the big screen. That is what stays with Li the most. \u003c/p>\n\u003cp>“I think that is one of the coolest parts of the results of this film, that they’re undeniable people now,” she says of the fictional Chows. “Yes, I made this documentary, but it had to be codified by the director of \u003cem>Black Panther\u003c/em> for it to be very real to people.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Dolly Li is currently working on the documentary ‘\u003ca href=\"https://www.filmmakerscollaborative.org/martin\">Martin\u003c/a>,’ about chef Martin Yan’s impact on American television and cuisine.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Dolly Li’s AJ+ documentary about the Mississippi Delta inspired a vital aspect of Ryan Coogler’s blockbuster.",
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"title": "The Real-Life Chinese American History Behind ‘Sinners’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan Coogler’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13974689/ryan-coogler-sinners-michael-b-jordan-horror-film-review\">Sinners\u003c/a>\u003c/em> has been the subject of voluminous discussion since its release on April 17. And now that the blockbuster has hit \u003ca href=\"https://roxie.com/film/sinners/\">second-run theaters\u003c/a> and streaming platforms, even more people are getting a chance to join the conversation around the fictional film’s attention to historical accuracy. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Sinner\u003c/em>’s credits are filled with cultural, language and religious consultants, making it clear that Coogler and his team were determined to get even the most minute details right. The result is a constellation of hyper-specific scenes and references: to hoodoo and African spirituality that survived the slave trade; to racial passing and the one-drop rule; to Irish assimilation into white supremacy; and to the presence and role of Chinese Americans in the Mississippi Delta. \u003c/p>\n\u003cp>Coogler heard stories of Chinese Americans in the Mississippi Delta from his own family, and recognized in them a unique history of American settler colonialism. In an attempt to do right by that history, Coogler consulted \u003ca href=\"https://www.dollyli.com/\">Dolly Li\u003c/a>, the journalist and documentary filmmaker behind the 2017 AJ+ documentary, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=2NMrqGHr5zE\">The Untold Story of America’s Southern Chinese\u003c/a>\u003c/em>. The documentary explores the complex relationships and solidarities forged by Chinese people in the Delta, many of whom operated separate grocery stores to serve the Black and white customers — a manifestation of segregation depicted in \u003ci>Sinners\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/2NMrqGHr5zE'\n title='//www.youtube.com/embed/2NMrqGHr5zE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Li pitched the story to AJ+ after witnessing misrepresentations of Southern communities during the 2016 election. Born and raised in New York, Li went to college in Texas before moving to Oakland to begin her journalism career. She learned about the Delta community through Adrienne Beraard’s 2016 book \u003cem>\u003ca href=\"https://www.beacon.org/Water-Tossing-Boulders-P1318.aspx\">Water Tossing Boulders\u003c/a>\u003c/em>, and wanted to connect with the community it depicted. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Delta Chinese community didn’t greet Li with open arms. Burned by reporters in the past, they were skeptical of people wanting to “tell” their story. In a coincidence of in-person timing (Li happened to be in town for a wedding) and a meeting over pizza, community members asked about Li’s relationship to her own Chinese ancestry. “They’re fourth-, fifth-generation Americans,” she says. “So the idea of having Chinese ancestry is kind of like Irish Americans going back to Ireland to try and find their roots from the 1800s.” \u003c/p>\n\u003cp>They asked Li a lot of questions. “‘What language do you speak? Do you know this word? Have you heard of this?’ And I found that very endearing, because they wanted information from me about their own culture,” she remembers. Rapport secured, the community invited Li and the AJ+ crew into their homes to tell a story many had never heard. A narrative which, seven years after its release, ended up being a critical storyline in \u003cem>Sinners\u003c/em>. \u003c/p>\n\u003ch2>Hollywood comes calling\u003c/h2>\n\u003cp>Li first heard whispers about her documentary being used in a casting call from actor friends. At first she thought someone was making an indie and just not telling her about it. Her investigative personality kicked in. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Somebody better tell me,” she remembers thinking. “Because I’m gonna find out. One of my actor friends was like, ‘It’s Ryan Coogler.’” She didn’t believe them.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.proximitymedia.com/\">Proximity Media\u003c/a> asked if she was interested in being a consultant, Li was hesitant. “It was exciting, but also really nerve-racking, because I also understood the implication of being the main point person for these characters,” she says of Bo and Grace Chow, the film’s husband-and-wife grocery-store owners played by Yao and Li Jun Li. “And because I don’t know what the script is, I don’t know how these characters are going to be manifested on screen.” \u003c/p>\n\u003cp>When Coogler shared that his family had discovered his father-in-law has Mississippi Delta Chinese ancestry, Li felt relief. “That helped me understand what his curiosity was and his connection to it,” she says. \u003c/p>\n\u003cfigure id=\"attachment_13978157\" class=\"wp-caption aligncenter\" style=\"max-width: 907px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1.png\" alt=\"black-and-white photograph of Black man in print shirt under camera boom\" width=\"907\" height=\"1146\" class=\"size-full wp-image-13978157\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1.png 907w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680113957143be89008e923b_Sinners_2_1-768x970.png 768w\" sizes=\"auto, (max-width: 907px) 100vw, 907px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Coogler on set during the filming of ‘Sinners.’ \u003ccite>(Courtesy of Proximity Media and WB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Coogler and his team’s commitment to detail and historical accuracy made it clear to Li that these characters were not an afterthought. The grocery store owners could easily have been cast as Black or white, and no one would have noted an absence of Chinese American representation in \u003cem>Sinners\u003c/em>. Instead Coogler opted to do the more challenging thing, weaving a complex history that forces viewers to confront the violence propelling America’s racial entanglements. \u003c/p>\n\u003cp>Li saw this choice as an act of camaraderie. “It forces you to reckon with their existence and their humanity becomes undeniable,” she says. \u003c/p>\n\u003ch2>Beauty is in the details\u003c/h2>\n\u003cp>Viewers are first privy to this history when we see Lisa Chow (Grace and Bo’s daughter) cross the street from the Min Sang grocery serving Black customers to the store where her mother is serving white customers. \u003c/p>\n\u003cp>This seemingly small detail is evidence of considerable effort and intention. (The crew built an entire set for a scene that lasted mere moments.) Yet it’s this scene that sparked some of the more nuanced conversations about the reality, and absurdity, of Jim Crow segregation. \u003c/p>\n\u003cp>Li worked closely with Monique Champagne, the set designer who created the store, to get everything just right. “Portraying it accurately was so important to her and Ryan and the rest of the production crew,” Li says. “When I saw the store manifest on screen, I screamed a tiny scream out loud. I was just finally seeing all of this work that was put into it come to life.” \u003c/p>\n\u003cfigure id=\"attachment_13978158\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1.png\" alt=\"black-and-white image of Asian woman against shelf of goods\" width=\"1380\" height=\"1146\" class=\"size-full wp-image-13978158\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/680116562738dcbfb6734b27_Sinners_5_1-768x638.png 768w\" sizes=\"auto, (max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">An on-set photo of actor Li Jun Li, who plays grocery store owner Grace Chow in ‘Sinners.’ \u003ccite>(Courtesy of Proximity Media and WB)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Li says this level of attention went into every aspect of the script, and the world \u003ci>Sinners\u003c/i> ultimately portrayed. Li Jun Li and Yao told Li they watched her documentary daily to practice their Southern accents. “I was so excited to hear the accents,” Li says. “I thought they did such an incredible job.” \u003c/p>\n\u003cp>Accents and dialects are crucial elements throughout the film. In the final and most dramatic act, it’s \u003ci>how\u003c/i> certain words are said: the vampire Remmick speaks to Grace Chow directly in Taisan, which Li describes as “a really, really old-school dialect.” \u003c/p>\n\u003cp>“It was the dialect spoken by a lot of early immigrants in the 1800s,” she explains. Remmick speaks not just Grace’s mother tongue, but her village tongue, making the character’s motivations that much clearer. “I think that is probably what triggers the deep fire, anger and fear in Grace,” Li says. “I can see why her character completely lost her shit over it.” \u003c/p>\n\u003cfigure id=\"attachment_13974840\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF.jpg\" alt=\"wide group shot of people in barn ready to fight\" width=\"2000\" height=\"727\" class=\"size-full wp-image-13974840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-800x291.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-1020x371.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-160x58.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-768x279.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-1536x558.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GomtJP2XYAA7LPF-1920x698.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The vampire-fighting squad with Michael B. Jordan, center, and Li Jun Li on the far right.’ \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the end of the day, \u003cem>Sinners\u003c/em> is still a vampire movie, with all of the horror and horniness the genre requires. As Li was checking in with everyone, she gave Frieda Quon, whose family grocery store inspired the film’s two shops, a call. \u003c/p>\n\u003cp>“She was so funny. She was like, ‘Dolly, what do vampires have to do with being Chinese?’” Li laughed, recalling their exchange. “They are Southern ladies, so they’re like, ‘Oh, well, some of the stuff they were saying is more daring than what we were saying.’ A lot of the sexier scenes and sexier lines are making them blush.”\u003c/p>\n\u003cp>For Jun Stinson Yamagishi, one of the documentary’s producers, the inclusion of the world and history of the Mississippi Delta Chinese in \u003cem>Sinners\u003c/em> was a reminder of the power good journalism and storytelling can wield in society. “It made me really think about the importance of doing this work and telling these stories that aren’t being widely told,” Yamagishi says. “They influence historical memory, and then they influence art.”\u003c/p>\n\u003cp>It all comes down to being able to see marginalized communities as real people, with real stories and lineages worth preserving, remembering and exploring — especially on the big screen. That is what stays with Li the most. \u003c/p>\n\u003cp>“I think that is one of the coolest parts of the results of this film, that they’re undeniable people now,” she says of the fictional Chows. “Yes, I made this documentary, but it had to be codified by the director of \u003cem>Black Panther\u003c/em> for it to be very real to people.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Dolly Li is currently working on the documentary ‘\u003ca href=\"https://www.filmmakerscollaborative.org/martin\">Martin\u003c/a>,’ about chef Martin Yan’s impact on American television and cuisine.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there is an overarching theme in \u003cem>Sorry, Baby\u003c/em> — the debut feature by San Francisco-raised director, writer and actor \u003ca href=\"https://www.instagram.com/evavictor/?hl=en\">Eva Victor\u003c/a> — it’s about the ordinariness of terrible things.\u003c/p>\n\u003cp>[aside postid='arts_13978179']Traditionally, most movies like to insist on telling audiences that disasters crash into our lives with lightning strikes and people screaming, soundtracked by heart-wrenching music. The truth is that most of the worst things that happen to humans just roll quietly — and randomly — into lives and chip, chip, chip away. \u003cem>Sorry, Baby\u003c/em> is extremely good at capturing the slow, insidious and muted nature of such events.\u003c/p>\n\u003cp>Set in a rural Massachusetts college town, \u003cem>Sorry, Baby\u003c/em> revolves around Agnes (played by Victor), her best friend Lydie (the always delightful \u003ca href=\"https://www.kqed.org/arts/13962666/blink-twice-movie-review-zoe-kravitz-channing-tatum-naomi-ackie-alia-shawkat\">Naomi Ackie\u003c/a>), a socially awkward neighbor named Gavin (\u003ca href=\"https://www.imdb.com/name/nm2348627/\">Lucas Hedges\u003c/a>), and a cast of mostly unpleasant characters from the local university. (Special shoutout to \u003ca href=\"https://www.imdb.com/name/nm3080168/?ref_=ttfc_fcr_cst_4\">Kelly McCormack\u003c/a> here, who uses her extremely expressive face to turn Agnes’ nemesis Natasha into a figure of comedic gold.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rc0jgWoZo9w\u003c/p>\n\u003cp>\u003cem>Sorry, Baby\u003c/em> is a movie about sexual violence, power imbalances, dealing with trauma, and the emotional relationships and bonds that carry us through. But its tone never shifts from an everyday beat, in part because of Agnes’ pragmatic nature. The routine of daily activities sits alongside the pain of The Very Bad Thing at the center of her story. Friendships and sexual relationships are rendered naturalistically and believably. Interactions with strangers are consistently, humanly awkward and provide dry humor to proceedings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What is less obvious about \u003cem>Sorry, Baby\u003c/em> is that it’s also a late-stage coming of age story. Rendered through non-linear time jumps, the movie shows Agnes and Lydie limping to the end of grad school and emerging into post-collegiate adulthood in search of their own paths. These women are undoubtedly grown-ups, albeit ones who haven’t quite figured out themselves or the world yet. In the end, their personal road maps emerge simply because they manage to keep putting one foot in front of the other, regardless of the challenges at hand.\u003c/p>\n\u003cp>[aside postid='arts_13978018']For anyone who has already stumbled through and survived their 20s, \u003cem>Sorry, Baby\u003c/em> has few revelations to offer beyond smart writing and a very promising new director. Where the film will resonate most and find its most passionate audience is with young people still figuring out the challenges and injustices of adulthood. \u003cem>Sorry, Baby\u003c/em> is a realistically commonplace depiction of both; delicate and lovely, relatable and terrible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sorry, Baby’ is released nationwide on July 18, 2025. It is currently playing in limited theaters.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sfac\">San Francisco Arts Commission\u003c/a> (SFAC) on Tuesday announced a cumulative $10.4 million in \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grants\u003c/a> to 145 artists and arts nonprofits and six cultural centers.\u003c/p>\n\u003cp>The grants include more than $7.5 million in funding for 98 individual artists and 47 arts nonprofit organizations to support performances, documentaries, exhibitions, sculpture, literature, workshops, albums, public events and more. \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FY25-SFAC-Grantees-All-Final.pdf\">A full list of grant recipients and their projects can be found here [PDF]\u003c/a>. \u003c/p>\n\u003cp>Nearly $3 million of the grant funding will be spread across six different cultural centers. Those include the African American Art and Culture Complex, the Ruth Williams Bayview Opera House, the Mission Cultural Center for Latino Arts, and SOMArts, along with three “virtual cultural centers”: the Asian Pacific Islander Cultural Center, the American Indian Cultural Center, and the Queer Cultural Center. \u003c/p>\n\u003cp>[aside postID='arts_13975661']The city received 533 grant applications, which were evaluated by 73 peer panelists between January and April of this year. The grants are funded by Proposition E, passed by voters in 2018, which mandates that 1.5% of San Francisco’s 14% hotel tax goes to fund arts and culture initiatives.\u003c/p>\n\u003cp>“Each grant awarded this cycle represents an investment in San Francisco’s vibrant cultural future. We are proud to support so many talented artists and organizations, especially for San Francisco artists whom nearly half are first-time grantees,” said Denise Pate, SFAC’s Director of Community Investments, referring to the grant category for individual artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The grants come as Mayor Daniel Lurie mounts a visible public comeback for San Francisco, utilizing its arts communities. Free downtown events with DJs and live music are now a regular occurrence, and Lurie has championed relaxed permit restrictions and the city’s \u003ca href=\"https://www.sf.gov/news-mayor-lurie-signs-legislation-creating-five-new-entertainment-zones-across-san-francisco-launches-castro-entertainment-zone\">new entertainment zones\u003c/a> as engines for economic recovery. Lurie also recently announced a restructuring to place SFAC, Grants for the Arts (GFTA), and the San Francisco Film Commission \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sfac-gfta-sffilm-to-unite-20352144.php\">under the same umbrella\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13974119']In a statement, Lurie said that “our arts community brings people from across the world to San Francisco — keeping our arts and cultural institutions strong and vibrant is critical to our economic recovery.” \u003c/p>\n\u003cp>In May, \u003ca href=\"https://www.kqed.org/arts/13975661/national-endowment-for-the-arts-grants-canceled-nonprofits\">the Trump administration canceled National Endowment of the Arts grants nationwide\u003c/a>, including grants for dozens of Bay Area artists and nonprofits. The month prior, the Trump administration \u003ca href=\"https://www.kqed.org/arts/13974246/neh-funding-canceled-grants-california-humanities\">canceled millions of dollars in National Endowment of the Humanities grants\u003c/a>, which also affected many Bay Area artists. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in April, \u003ca href=\"https://www.kqed.org/arts/13974119/city-of-san-francisco-cancels-14-million-in-dream-keeper-initiative-funding\">the city of San Francisco officially canceled $14.4 million in Dream Keeper Initiative grants\u003c/a> to more than 30 San Francisco-based cultural organizations working in social services and the arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/sfac\">San Francisco Arts Commission\u003c/a> (SFAC) on Tuesday announced a cumulative $10.4 million in \u003ca href=\"https://www.kqed.org/arts/tag/grants\">grants\u003c/a> to 145 artists and arts nonprofits and six cultural centers.\u003c/p>\n\u003cp>The grants include more than $7.5 million in funding for 98 individual artists and 47 arts nonprofit organizations to support performances, documentaries, exhibitions, sculpture, literature, workshops, albums, public events and more. \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/FY25-SFAC-Grantees-All-Final.pdf\">A full list of grant recipients and their projects can be found here [PDF]\u003c/a>. \u003c/p>\n\u003cp>Nearly $3 million of the grant funding will be spread across six different cultural centers. Those include the African American Art and Culture Complex, the Ruth Williams Bayview Opera House, the Mission Cultural Center for Latino Arts, and SOMArts, along with three “virtual cultural centers”: the Asian Pacific Islander Cultural Center, the American Indian Cultural Center, and the Queer Cultural Center. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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