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"content": "\u003cp>\u003cem>Text by Emma Silvers, video by Claudia Escobar.\u003c/em>\u003c/p>\n\u003cp>Anthony Lucero has too many trophies to carry at once. The writer-director’s first feature film, \u003cem>\u003ca href=\"http://ww2.kqed.org/bayareabites/2015/09/15/east-side-sushi-explores-a-culture-clash-through-food-in-oakland/\" target=\"_blank\" rel=\"noopener\">East Side Sushi\u003c/a>\u003c/em>, about a Latina woman who aspires to become a sushi chef, has been racking up awards since it first debuted on the festival circuit in 2014.\u003c/p>\n\u003cp>But back in 2011, when the Oakland native was shopping his screenplay around to potential investors, it was a different story altogether.\u003c/p>\n\u003cp>“There were multiple strikes working against it,” says the filmmaker, who was born and raised in the Fruitvale District. “I had a very strong sense that no one wanted to pay for a film with a woman lead. The second issue was she was Mexican. And the other lead was Japanese. And you just don’t see that in cinema.”\u003c/p>\n\u003cfigure id=\"attachment_11362267\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11362267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sushi1-400x192.jpeg\" alt=\"A scene from Lucero's film. \" width=\"500\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-400x192.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-800x384.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-768x369.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-1180x567.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-960x461.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1.jpeg 1280w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucero’s film.\u003c/figcaption>\u003c/figure>\n\u003cp>Think that sounds like an oversimplification? Think again. A \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/02/22/467665890/hollywood-has-a-major-diversity-problem-usc-study-finds\" target=\"_blank\" rel=\"noopener\">recent report by the University of Southern California’s Annenberg School for Communication and Journalism\u003c/a> has confirmed what many in the entertainment business say has been common knowledge for decades: Hollywood’s diversity problem goes far beyond the Academy Awards. Below the surface of the buzzy \u003ca href=\"https://twitter.com/search?q=%23OscarsSoWhite\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> conversation that’s dominated social media the past few months lies an iceberg — it’s the industry itself, and it’s overwhelmingly comprised of straight, white men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Overall, the landscape of media content is still largely whitewashed,” reports the USC study. With an eye to gender, ethnicity, and sexual orientation, researchers analyzed roles in front of and behind the camera on 109 films released by major studios in 2014, as well 305 scripted television and digital/streaming series that aired across 31 different networks. Shows distributed by Disney, NBC, CBS, Hulu, Netflix, 21st Century Fox, Sony and more were included in the data.\u003c/p>\n\u003cp>At a time when the U.S. population is \u003ca href=\"http://www.bloomberg.com/news/articles/2015-06-25/american-babies-are-no-longer-mostly-non-hispanic-white\" target=\"_blank\" rel=\"noopener\">increasingly made up of minorities\u003c/a>, the report casts a clear spotlight on the damning degree of disparity between what Americans look like and what we see on our TV screens. Asians, Latinos, and African-Americans are all vastly underrepresented, both onscreen and off. Only 2 percent of speaking characters on television were identified as LGBT. White directors outnumber those of color by nearly 7 to 1. Only two black women directors were identified in an entire year’s worth of major motion pictures.\u003c/p>\n\u003cp>Those numbers may seem shocking — but asked for their reactions, several local industry insiders responded with a resounding “duh.”\u003c/p>\n\u003cfigure id=\"attachment_20743\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20743 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/22867851817_351da9804c_b-800x600.jpg\" alt=\"Margaret Cho on Fashion Police. \" width=\"481\" height=\"361\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho on Fashion Police.\u003c/figcaption>\u003c/figure>\n\u003cp>“Not surprising,” says Margaret Cho, a comic who — sometime in between doing impressions of her mother in small San Francisco nightclubs as a teenager and becoming a household name — had the distinction of being\u003ca href=\"http://www.npr.org/2011/05/31/136818644/margaret-cho-breaks-barriers-in-world-of-comedy\" target=\"_blank\" rel=\"noopener\"> the first Asian-American to have her own primetime network TV\u003c/a> show, with 1994’s ABC sitcom \u003cem>All-American Girl\u003c/em>.\u003c/p>\n\u003cp>“I have often been the only person of color on set or involved in an entire production. It’s not unusual to me. For a long time, it was the norm, and it still is to some extent.”\u003c/p>\n\u003cp>Cho says she gravitated toward comedy in part because of its inclusiveness, which set it apart from film and television.\u003c/p>\n\u003cp>“I was told all the time, by many people, that I didn’t belong in show business — from my family to important agents and producers and managers and other actors,” says Cho. But “in comedy, there was no supervising entity limiting your participation in the medium. You just had to be good, that was all. You didn’t have to fit into anyone’s story; you didn’t have to wait until there was ‘Trouble in Chinatown.'”\u003c/p>\n\u003cp>“And then being a successful comic was like a backdoor entry into the rest of Hollywood,” says the comic, who’s currently juggling a guest-hosting job on E!’s \u003cem>Fashion Police\u003c/em> with standup, songwriting, and activism. “I made a name for myself. I couldn’t have broken into TV from the other side. There were no significant roles for people of color at all.”\u003c/p>\n\u003cfigure id=\"attachment_20744\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-20744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/maxresdefault-400x604.jpg\" alt=\"Natalie Wood in 'West Side Story.'\" width=\"400\" height=\"604\">\u003cfigcaption class=\"wp-caption-text\">Natalie Wood in ‘West Side Story.’\u003c/figcaption>\u003c/figure>\n\u003cp>Lucero notes that he, too, was far from shocked by the USC report’s numbers. “I’ve known [about the disparity] ever since I’ve known about film,” he says. “I mean, it goes back to Natalie Wood portraying a Puerto Rican in \u003cem>West Side Story\u003c/em>. It’s not surprising, just sad.” (For a plethora of other facepalm-worthy instances of whitewashing, check out this week’s\u003ca href=\"http://www.nytimes.com/interactive/2016/02/24/arts/hollywood-diversity-inclusion.html\" target=\"_blank\" rel=\"noopener\">\u003cem> New York Times\u003c/em> feature\u003c/a> on being non-white in Hollywood.)\u003c/p>\n\u003cp>So: Considering this long-running legacy of underrepresentation — what the study refers to, in turns, as an “inclusion crisis” and an “epidemic of invisibility” — is the media’s current focus on the Oscars misguided?\u003c/p>\n\u003cp>In an interview with \u003cem>Variety\u003c/em> this week, Mo’Nique, who in 2010 won the Oscar for Best Supporting Actress for \u003cem>Precious\u003c/em>, argues that the \u003ca href=\"http://variety.com/2016/film/news/monique-pay-gap-black-women-oscars-diversity-1201712344/\" target=\"_blank\" rel=\"noopener\">talk around “the trophy” is irrelevant\u003c/a> and detracts from real issues — such as the pay gap faced by women of color. (The actress has said she was paid only $50,000 for her award-winning role.)\u003c/p>\n\u003cfigure id=\"attachment_20745\" class=\"wp-caption aligncenter\" style=\"max-width: 442px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20745 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/headshot-800x620.png\" alt=\"N'Jeri Eaton\" width=\"442\" height=\"342\">\u003cfigcaption class=\"wp-caption-text\">N’Jeri Eaton\u003c/figcaption>\u003c/figure>\n\u003cp>Still, “I think it’s a conversation we should be having, in part because it’s a launching point to many other conversations about diversity,” says N’Jeri Eaton, an up-and-coming documentary filmmaker whose recent film \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a>\u003c/em> examines a changing Oakland, with its accompanying race, class, and gentrification issues, via the focal point of its monthly Art Murmur.\u003c/p>\n\u003cp>“There are so many different aspects to this — say, for black women in particular, when black women do win [awards], what kind of roles is it for? It’s always women who are in peril, this tragic black woman narrative — because those are the opportunities we get as black women actors.”\u003c/p>\n\u003cp>Eaton says one of the best bets for moving beyond the online conversation involves hiring decisions: When it came time to select a crew for \u003cem>First Friday\u003c/em>, she made it a point to seek out a team that reflected what Oakland actually looks like, and that comes through in the film.\u003c/p>\n\u003cp>But making change is multi-fold, she says: we must create opportunities, platforms and financial support for young people of color who are interested in filmmaking. (Her day job at San Francisco’s nonprofit media organization \u003ca href=\"http://itvs.org/\" target=\"_blank\" rel=\"noopener\">Independent Television Service\u003c/a> provides grants of up to $15,000 to do just that.) And the movie-going public must also vote with their wallets.\u003c/p>\n\u003cp>“I’m a closet fan of the \u003cem>Fast and Furious\u003c/em> series,” she says with a laugh. “And it might seem silly, but that series is incredibly diverse, and I think that’s part of the reason it’s so successful — it’s more reflective of our country, and people are dying for that. No one could say that [franchise] isn’t profitable.”\u003c/p>\n\u003cfigure id=\"attachment_20746\" class=\"wp-caption alignright\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-20746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/furious-7-premiere-400x250.jpg\" alt=\"Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’ \" width=\"464\" height=\"290\">\u003cfigcaption class=\"wp-caption-text\">Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’\u003c/figcaption>\u003c/figure>\n\u003cp>If the Oscars serve as a springboard for discussion, however, she’s all for it. “I mean, I’m black. I think about race every day of my life, maybe every hour of my life,” says Eaton. “But for some people, this might be their very first entry point to thinking about race.”\u003c/p>\n\u003cp>Cho echoes that statement. “I think it’s great,” she says of the Oscars conversation. “The only thing that seems to take down overt racism, invisibility, and cultural erasure is shame.”\u003c/p>\n\u003cp>But come Monday morning, when the Oscars are in the media’s rearview mirror, her focus will be back on paving her own way, making a space in entertainment outside of the studio-sanctioned blockbusters, and supporting others in the same boat.\u003c/p>\n\u003cp>“I think that we have to make our own movies — bring our own stories and do it any way we can, whether that’s making content for social media, making movies with our phones, making music on our laptops,” says Cho. “We need to do it on our own.”\u003c/p>\n\u003cfigure id=\"attachment_11362266\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11362266\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/920x920-1-400x240.jpg\" alt=\"Anthony Lucero, the writer-director of 'East Side Sushi.'\" width=\"400\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1.jpg 920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Lucero, the writer-director of ‘East Side Sushi.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anthony Lucero adds that, for a young person of color who doesn’t have many high-profile role models in the industry she can relate to, putting that DIY ethic on display can be nothing short of powerful.\u003c/p>\n\u003cp>“A lot of it is education — filmmakers giving back. I’m doing a lot of tours at high schools and middle schools right now, to show kids that, yeah, I’m Chicano, I come from the Fruitvale District, and it’s possible to come from there and make films,” he says. “I do feel like it’s my duty to do that.”\u003c/p>\n\u003cfigure id=\"attachment_20747\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20747 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/East-Side-Sushi-1-800x1186.jpg\" alt=\"Diana Elizabeth Torres on the poster for 'East Side Sushi.'\" width=\"460\" height=\"682\">\u003cfigcaption class=\"wp-caption-text\">Diana Elizabeth Torres on the poster for ‘East Side Sushi.’\u003c/figcaption>\u003c/figure>\n\u003cp>As for \u003cem>East Side Sushi\u003c/em>? Lucero wound up paying for it himself (with a little help from Kickstarter). And a couple months later, right after he took the top audience award at \u003ca href=\"http://www.cinequest.org/film-festival\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a>, he got a call from the head of acquisitions at a major studio who was interested in distributing the film.\u003c/p>\n\u003cp>“They loved the film, their whole staff loved the film, but they wanted somebody famous in the lead,” says Lucero. “They weren’t comfortable putting a no-name Latina woman on an ad on the side of a bus.”\u003c/p>\n\u003cp>So when it came time to make marketing materials, Lucero went with a big, solo shot of his leading lady — who, yes, is Latina. Her name is Diana Elizabeth Torres.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I said, okay, I’m gonna put her face front and center on this poster. That poster that you see is my defiance against Hollywood,” says Lucero with a laugh. “That’s just me. When there are obstacles, I go against them.”\u003c/p>\n\n",
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"excerpt": "Lack of diversity at the Oscars may be all the buzz on social media -- but a recent report suggests the problem runs much deeper. ",
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"title": "Whitewashed: Bay Area Movers, Shakers and Movie-Makers on Hollywood's Diversity Problem | KQED",
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"headline": "Whitewashed: Bay Area Movers, Shakers and Movie-Makers on Hollywood's Diversity Problem",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Text by Emma Silvers, video by Claudia Escobar.\u003c/em>\u003c/p>\n\u003cp>Anthony Lucero has too many trophies to carry at once. The writer-director’s first feature film, \u003cem>\u003ca href=\"http://ww2.kqed.org/bayareabites/2015/09/15/east-side-sushi-explores-a-culture-clash-through-food-in-oakland/\" target=\"_blank\" rel=\"noopener\">East Side Sushi\u003c/a>\u003c/em>, about a Latina woman who aspires to become a sushi chef, has been racking up awards since it first debuted on the festival circuit in 2014.\u003c/p>\n\u003cp>But back in 2011, when the Oakland native was shopping his screenplay around to potential investors, it was a different story altogether.\u003c/p>\n\u003cp>“There were multiple strikes working against it,” says the filmmaker, who was born and raised in the Fruitvale District. “I had a very strong sense that no one wanted to pay for a film with a woman lead. The second issue was she was Mexican. And the other lead was Japanese. And you just don’t see that in cinema.”\u003c/p>\n\u003cfigure id=\"attachment_11362267\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11362267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Sushi1-400x192.jpeg\" alt=\"A scene from Lucero's film. \" width=\"500\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-400x192.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-800x384.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-768x369.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-1180x567.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1-960x461.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Sushi1.jpeg 1280w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Lucero’s film.\u003c/figcaption>\u003c/figure>\n\u003cp>Think that sounds like an oversimplification? Think again. A \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/02/22/467665890/hollywood-has-a-major-diversity-problem-usc-study-finds\" target=\"_blank\" rel=\"noopener\">recent report by the University of Southern California’s Annenberg School for Communication and Journalism\u003c/a> has confirmed what many in the entertainment business say has been common knowledge for decades: Hollywood’s diversity problem goes far beyond the Academy Awards. Below the surface of the buzzy \u003ca href=\"https://twitter.com/search?q=%23OscarsSoWhite\" target=\"_blank\" rel=\"noopener\">#OscarsSoWhite\u003c/a> conversation that’s dominated social media the past few months lies an iceberg — it’s the industry itself, and it’s overwhelmingly comprised of straight, white men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Overall, the landscape of media content is still largely whitewashed,” reports the USC study. With an eye to gender, ethnicity, and sexual orientation, researchers analyzed roles in front of and behind the camera on 109 films released by major studios in 2014, as well 305 scripted television and digital/streaming series that aired across 31 different networks. Shows distributed by Disney, NBC, CBS, Hulu, Netflix, 21st Century Fox, Sony and more were included in the data.\u003c/p>\n\u003cp>At a time when the U.S. population is \u003ca href=\"http://www.bloomberg.com/news/articles/2015-06-25/american-babies-are-no-longer-mostly-non-hispanic-white\" target=\"_blank\" rel=\"noopener\">increasingly made up of minorities\u003c/a>, the report casts a clear spotlight on the damning degree of disparity between what Americans look like and what we see on our TV screens. Asians, Latinos, and African-Americans are all vastly underrepresented, both onscreen and off. Only 2 percent of speaking characters on television were identified as LGBT. White directors outnumber those of color by nearly 7 to 1. Only two black women directors were identified in an entire year’s worth of major motion pictures.\u003c/p>\n\u003cp>Those numbers may seem shocking — but asked for their reactions, several local industry insiders responded with a resounding “duh.”\u003c/p>\n\u003cfigure id=\"attachment_20743\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20743 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/22867851817_351da9804c_b-800x600.jpg\" alt=\"Margaret Cho on Fashion Police. \" width=\"481\" height=\"361\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho on Fashion Police.\u003c/figcaption>\u003c/figure>\n\u003cp>“Not surprising,” says Margaret Cho, a comic who — sometime in between doing impressions of her mother in small San Francisco nightclubs as a teenager and becoming a household name — had the distinction of being\u003ca href=\"http://www.npr.org/2011/05/31/136818644/margaret-cho-breaks-barriers-in-world-of-comedy\" target=\"_blank\" rel=\"noopener\"> the first Asian-American to have her own primetime network TV\u003c/a> show, with 1994’s ABC sitcom \u003cem>All-American Girl\u003c/em>.\u003c/p>\n\u003cp>“I have often been the only person of color on set or involved in an entire production. It’s not unusual to me. For a long time, it was the norm, and it still is to some extent.”\u003c/p>\n\u003cp>Cho says she gravitated toward comedy in part because of its inclusiveness, which set it apart from film and television.\u003c/p>\n\u003cp>“I was told all the time, by many people, that I didn’t belong in show business — from my family to important agents and producers and managers and other actors,” says Cho. But “in comedy, there was no supervising entity limiting your participation in the medium. You just had to be good, that was all. You didn’t have to fit into anyone’s story; you didn’t have to wait until there was ‘Trouble in Chinatown.'”\u003c/p>\n\u003cp>“And then being a successful comic was like a backdoor entry into the rest of Hollywood,” says the comic, who’s currently juggling a guest-hosting job on E!’s \u003cem>Fashion Police\u003c/em> with standup, songwriting, and activism. “I made a name for myself. I couldn’t have broken into TV from the other side. There were no significant roles for people of color at all.”\u003c/p>\n\u003cfigure id=\"attachment_20744\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-20744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/maxresdefault-400x604.jpg\" alt=\"Natalie Wood in 'West Side Story.'\" width=\"400\" height=\"604\">\u003cfigcaption class=\"wp-caption-text\">Natalie Wood in ‘West Side Story.’\u003c/figcaption>\u003c/figure>\n\u003cp>Lucero notes that he, too, was far from shocked by the USC report’s numbers. “I’ve known [about the disparity] ever since I’ve known about film,” he says. “I mean, it goes back to Natalie Wood portraying a Puerto Rican in \u003cem>West Side Story\u003c/em>. It’s not surprising, just sad.” (For a plethora of other facepalm-worthy instances of whitewashing, check out this week’s\u003ca href=\"http://www.nytimes.com/interactive/2016/02/24/arts/hollywood-diversity-inclusion.html\" target=\"_blank\" rel=\"noopener\">\u003cem> New York Times\u003c/em> feature\u003c/a> on being non-white in Hollywood.)\u003c/p>\n\u003cp>So: Considering this long-running legacy of underrepresentation — what the study refers to, in turns, as an “inclusion crisis” and an “epidemic of invisibility” — is the media’s current focus on the Oscars misguided?\u003c/p>\n\u003cp>In an interview with \u003cem>Variety\u003c/em> this week, Mo’Nique, who in 2010 won the Oscar for Best Supporting Actress for \u003cem>Precious\u003c/em>, argues that the \u003ca href=\"http://variety.com/2016/film/news/monique-pay-gap-black-women-oscars-diversity-1201712344/\" target=\"_blank\" rel=\"noopener\">talk around “the trophy” is irrelevant\u003c/a> and detracts from real issues — such as the pay gap faced by women of color. (The actress has said she was paid only $50,000 for her award-winning role.)\u003c/p>\n\u003cfigure id=\"attachment_20745\" class=\"wp-caption aligncenter\" style=\"max-width: 442px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20745 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/headshot-800x620.png\" alt=\"N'Jeri Eaton\" width=\"442\" height=\"342\">\u003cfigcaption class=\"wp-caption-text\">N’Jeri Eaton\u003c/figcaption>\u003c/figure>\n\u003cp>Still, “I think it’s a conversation we should be having, in part because it’s a launching point to many other conversations about diversity,” says N’Jeri Eaton, an up-and-coming documentary filmmaker whose recent film \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a>\u003c/em> examines a changing Oakland, with its accompanying race, class, and gentrification issues, via the focal point of its monthly Art Murmur.\u003c/p>\n\u003cp>“There are so many different aspects to this — say, for black women in particular, when black women do win [awards], what kind of roles is it for? It’s always women who are in peril, this tragic black woman narrative — because those are the opportunities we get as black women actors.”\u003c/p>\n\u003cp>Eaton says one of the best bets for moving beyond the online conversation involves hiring decisions: When it came time to select a crew for \u003cem>First Friday\u003c/em>, she made it a point to seek out a team that reflected what Oakland actually looks like, and that comes through in the film.\u003c/p>\n\u003cp>But making change is multi-fold, she says: we must create opportunities, platforms and financial support for young people of color who are interested in filmmaking. (Her day job at San Francisco’s nonprofit media organization \u003ca href=\"http://itvs.org/\" target=\"_blank\" rel=\"noopener\">Independent Television Service\u003c/a> provides grants of up to $15,000 to do just that.) And the movie-going public must also vote with their wallets.\u003c/p>\n\u003cp>“I’m a closet fan of the \u003cem>Fast and Furious\u003c/em> series,” she says with a laugh. “And it might seem silly, but that series is incredibly diverse, and I think that’s part of the reason it’s so successful — it’s more reflective of our country, and people are dying for that. No one could say that [franchise] isn’t profitable.”\u003c/p>\n\u003cfigure id=\"attachment_20746\" class=\"wp-caption alignright\" style=\"max-width: 464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-20746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/furious-7-premiere-400x250.jpg\" alt=\"Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’ \" width=\"464\" height=\"290\">\u003cfigcaption class=\"wp-caption-text\">Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’\u003c/figcaption>\u003c/figure>\n\u003cp>If the Oscars serve as a springboard for discussion, however, she’s all for it. “I mean, I’m black. I think about race every day of my life, maybe every hour of my life,” says Eaton. “But for some people, this might be their very first entry point to thinking about race.”\u003c/p>\n\u003cp>Cho echoes that statement. “I think it’s great,” she says of the Oscars conversation. “The only thing that seems to take down overt racism, invisibility, and cultural erasure is shame.”\u003c/p>\n\u003cp>But come Monday morning, when the Oscars are in the media’s rearview mirror, her focus will be back on paving her own way, making a space in entertainment outside of the studio-sanctioned blockbusters, and supporting others in the same boat.\u003c/p>\n\u003cp>“I think that we have to make our own movies — bring our own stories and do it any way we can, whether that’s making content for social media, making movies with our phones, making music on our laptops,” says Cho. “We need to do it on our own.”\u003c/p>\n\u003cfigure id=\"attachment_11362266\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11362266\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/920x920-1-400x240.jpg\" alt=\"Anthony Lucero, the writer-director of 'East Side Sushi.'\" width=\"400\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/920x920-1.jpg 920w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Lucero, the writer-director of ‘East Side Sushi.’\u003c/figcaption>\u003c/figure>\n\u003cp>Anthony Lucero adds that, for a young person of color who doesn’t have many high-profile role models in the industry she can relate to, putting that DIY ethic on display can be nothing short of powerful.\u003c/p>\n\u003cp>“A lot of it is education — filmmakers giving back. I’m doing a lot of tours at high schools and middle schools right now, to show kids that, yeah, I’m Chicano, I come from the Fruitvale District, and it’s possible to come from there and make films,” he says. “I do feel like it’s my duty to do that.”\u003c/p>\n\u003cfigure id=\"attachment_20747\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-20747 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/East-Side-Sushi-1-800x1186.jpg\" alt=\"Diana Elizabeth Torres on the poster for 'East Side Sushi.'\" width=\"460\" height=\"682\">\u003cfigcaption class=\"wp-caption-text\">Diana Elizabeth Torres on the poster for ‘East Side Sushi.’\u003c/figcaption>\u003c/figure>\n\u003cp>As for \u003cem>East Side Sushi\u003c/em>? Lucero wound up paying for it himself (with a little help from Kickstarter). And a couple months later, right after he took the top audience award at \u003ca href=\"http://www.cinequest.org/film-festival\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a>, he got a call from the head of acquisitions at a major studio who was interested in distributing the film.\u003c/p>\n\u003cp>“They loved the film, their whole staff loved the film, but they wanted somebody famous in the lead,” says Lucero. “They weren’t comfortable putting a no-name Latina woman on an ad on the side of a bus.”\u003c/p>\n\u003cp>So when it came time to make marketing materials, Lucero went with a big, solo shot of his leading lady — who, yes, is Latina. Her name is Diana Elizabeth Torres.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The chatter about the Oscars may be winding down, but #OscarsSoWhite has brought some big questions to light about the film industry. What kind of picture is Hollywood painting of America? Why does it not include more people of color, women, and LBGT communities? And who exactly is running the show down there?\u003c/p>\n\u003cp>[contextly_sidebar id=”l74ZZCD6uzMyYJXGRY3LhrpWnOGVlZ2a”]\u003c/p>\n\u003cp>This past week, we asked people from around the Bay what they thought — moviegoers and filmmakers alike — and what resulted was both lively and provocative.\u003c/p>\n\u003cp>For more on what Bay Area film artists are saying and what researchers at the University of Southern California’s Annenberg School of Journalism are reporting about how Hollywood really works, check out “\u003ca href=\"http://ww2.kqed.org/pop/2016/02/26/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility/\" target=\"_blank\" rel=\"noopener\">Hollywood So White: Margaret Cho and Other Locals on the ‘Epidemic of Invisibility’\u003c/a>” from KQED Pop’s Emma Silvers. — \u003ci>David Markus\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A river cruise is like a movie. The boat glides from scene to scene, the travelers get to know each other, and around the final curve awaits resolution, or perhaps revelation.\u003c/p>\n\u003cp>Or at least that’s how the voyage proceeds in Colombian director and co-writer Ciro Guerra’s fascinating \u003cem>The Embrace of the Serpent\u003c/em>. Nominated for the best foreign-language-film Oscar, the Amazon-set drama is a trip in more ways than one. It intertwines two journeys of discovery, inspired by the real-life journals of German ethnologist Theodor Koch-Grunberg and American ethno-botanist Richard Evans Schultes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uymNkBuR-SY\u003c/p>\n\u003cp>Both are looking for a rare plant, although for different reasons. In 1909, Theo (Jan Bijvoet) is seriously ill, and his semi-Westernized native guide (Miguel Dionisio Ramos) believes yakruna will save him. The men seek a young shaman, Karamakate (Nilbio Torres), who mistrusts white people and believes himself the last of his tribe. Only when Theo says he can reconnect Karamakate with his surviving kin does the healer join the expedition.\u003c/p>\n\u003cp>Some 30 years later, Evans (Brionne Davis) follows Theo’s path. The American has been recruited to find new sources of rubber for his country, at war with a Japan that controls Southeast Asia’s sticky sap. Evans is an expert on hallucinogenic plants and hopes to find yakruna. He enlists an older Karamakate (Antonio Bolivar), who believes he has lost his memory, and perhaps even his identity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Karamakate’s wisdom mingles the practical, the ecological, and the mystical. To him, shooting stars become totemic animals, including the jaguar and the boa, which impart wisdom in dreams. He laughs, a generation apart, at Theo and Evans’ attachment to their possessions. He’s also amused by Theo’s songs, although suitably awed when Evans’ gramophone emits Haydn’s “The Creation.”\u003c/p>\n\u003cp>Such devices, which include the compass Theo loses to a village chief, are the white man’s magic. They are potentially corrupting, since they may supplant the local knowledge and cause even a shaman to forget who he used to be.\u003c/p>\n\u003cp>During the two quests, several episodes justify Karamakate’s contempt for European explorers and exploiters, who’ve oppressed indigenous peoples in the service of both rubber and Jesus. A stop at an orphanage run by a lone monk is as chilling an illustration of the white man’s jungle madness as \u003cem>Aguirre, the Wrath of God\u003c/em>. And when Evans and Karamakate arrive at the same mission three decades later, the place has descended into a nightmare worthy of \u003cem>Apocalypse Now\u003c/em>.\u003c/p>\n\u003cp>Theo and Evans each lug cameras into the Amazon basin, and David Gallego’s cinematography honors the period by being black-and-white — but crisp and widescreen, very unlike the vintage glass-plate photo in which Karamakate is confused to glimpse a version of himself. The elegant monochromatic compositions also contrast a short full-color sequence near the journey’s end.\u003c/p>\n\u003cp>Yakruna is a (fictional) plant used to make a brew that summons vomit and visions. It’s not clear that it can cure Theo’s exotic illness, but perhaps it can rectify Evans’ scientific detachment.\u003c/p>\n\u003cp>That may be Guerra’s goal for the viewer as well. \u003cem>The Embrace of the Serpent\u003c/em>, whose title is a metaphor for psychedelic experience, isn’t as flamboyantly nutty as such hippie-era Latin perplexities as Alejandro Jodorowsky’s \u003cem>El Topo\u003c/em>. But it is bewitchingly strange, and as enveloping as the Amazon jungle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indeed, the place itself is transformative. To embrace the serpent may be to digest strange dreams, but an overhead shot of the terrain ultimately suggests another meaning. From above, it’s clear that the river coils through the forest like an endless snake.\u003c/p>\n\n",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/249055615&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Every year, I get excited about the Oscars. And, every year, about 7 minutes into the ceremony, a familiar realization comes flooding back: \u003cem>Oh, yeah! Award shows are super duper boring!\u003c/em> The main culprit: the uninspired acceptance speeches that often are just a long list of random people's names. So, in an attempt to make a better world, I've compiled a list of dos and don'ts for future award winners to make the most of their stage time:\u003c/p>\n\u003cp>\u003cstrong>Do show your endearing humanity by cackling uncontrollably à la Julia Roberts:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/ZV0YbYECU7A?t=4m17s\u003c/p>\n\u003cp>\u003cstrong>Do make sure you're charming enough to pull off threatening to kidnap and have sex with everyone in the audience, like Roberto Benigni did:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Ybgg4H4zTHo?t=2m6s\u003c/p>\n\u003cp>\u003cstrong>Do use Maya Angelou as an excuse to go HAM on everyone, like Fiona Apple:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/RVHQJlogH0k?t=13s\u003c/p>\n\u003cp>\u003cstrong>Do have a modicum of chill, unlike Sally Field's infamous YOU LIKE ME, YOU REALLY LIKE ME!!! speech:\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rl_NpdAy3WY\u003c/p>\n\u003cp>\u003cstrong>Do bring some 'tude like when Taraji P. Henson refused to be rushed by the Golden Globe producers:\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Yrca4FSKXQ\u003c/p>\n\u003cp>\u003cstrong>Do kill your haters with cuteness like Ruth Gordon:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/oxsLNhH0yjA?t=1m29s\u003c/p>\n\u003cp>\u003cstrong>Do not say something insufferable and follow it up by hooting like a drunken frat boy:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/xJp7Wd6Af2A?t=2m45s\u003c/p>\n\u003cp>\u003cstrong>Do pull a Cuba Gooding Jr. and refuse to be played off by saying \"I love you\" a billion times:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/cnCMqr1QRQw?t=1m18s\u003c/p>\n\u003cp>\u003cstrong>Do double check to make sure that the gay men you thank are actually out, \u003ca href=\"https://uk.movies.yahoo.com/the-story-behind-great-oscars-moments--when-tom-hanks-outed-a-drama-teacher-114738061.html\" target=\"_blank\" rel=\"noopener\">something Tom Hanks forgot to do\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/bBuDMEpUc8k?t=2m17s\u003c/p>\n\u003cp>\u003cstrong>Do realize that kissing your sibling on the lips and then saying you're in love with them will lead to incest rumors:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/EPWpHWr1L7s?t=1m47s\u003c/p>\n\u003cp>\u003cstrong>Do use your acceptance speech time to do some cardio:\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/AGxL5AFzzMY?t=1m19s\u003c/p>\n\u003cp>\u003cstrong>Do leave them wanting more:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/O0Q_nyjuEak?t=1m16s\u003c/p>\n\n",
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"excerpt": "In an attempt to make a better world, I've compiled a list of award speech dos and don'ts.\r\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/Ybgg4H4zTHo'\n title='//www.youtube.com/embed/Ybgg4H4zTHo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do use Maya Angelou as an excuse to go HAM on everyone, like Fiona Apple:\u003c/strong>\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/RVHQJlogH0k'\n title='//www.youtube.com/embed/RVHQJlogH0k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do have a modicum of chill, unlike Sally Field's infamous YOU LIKE ME, YOU REALLY LIKE ME!!! speech:\u003c/strong>\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/rl_NpdAy3WY'\n title='//www.youtube.com/embed/rl_NpdAy3WY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do bring some 'tude like when Taraji P. Henson refused to be rushed by the Golden Globe producers:\u003c/strong>\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/4Yrca4FSKXQ'\n title='//www.youtube.com/embed/4Yrca4FSKXQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do kill your haters with cuteness like Ruth Gordon:\u003c/strong>\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/oxsLNhH0yjA'\n title='//www.youtube.com/embed/oxsLNhH0yjA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do not say something insufferable and follow it up by hooting like a drunken frat boy:\u003c/strong>\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/xJp7Wd6Af2A'\n title='//www.youtube.com/embed/xJp7Wd6Af2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do pull a Cuba Gooding Jr. and refuse to be played off by saying \"I love you\" a billion times:\u003c/strong>\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/cnCMqr1QRQw'\n title='//www.youtube.com/embed/cnCMqr1QRQw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do double check to make sure that the gay men you thank are actually out, \u003ca href=\"https://uk.movies.yahoo.com/the-story-behind-great-oscars-moments--when-tom-hanks-outed-a-drama-teacher-114738061.html\" target=\"_blank\" rel=\"noopener\">something Tom Hanks forgot to do\u003c/a>:\u003c/strong>\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/bBuDMEpUc8k'\n title='//www.youtube.com/embed/bBuDMEpUc8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do realize that kissing your sibling on the lips and then saying you're in love with them will lead to incest rumors:\u003c/strong>\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/EPWpHWr1L7s'\n title='//www.youtube.com/embed/EPWpHWr1L7s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do use your acceptance speech time to do some cardio:\u003c/strong>\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/AGxL5AFzzMY'\n title='//www.youtube.com/embed/AGxL5AFzzMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Do leave them wanting more:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan 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"disqusTitle": "Hollywood So White: Margaret Cho, Other Bay Area Locals on the 'Epidemic of Invisibility'",
"title": "Hollywood So White: Margaret Cho, Other Bay Area Locals on the 'Epidemic of Invisibility'",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Anthony Lucero has too many trophies to carry at once. The writer-director's first feature film, \u003cem>\u003ca href=\"http://ww2.kqed.org/bayareabites/2015/09/15/east-side-sushi-explores-a-culture-clash-through-food-in-oakland/\" target=\"_blank\">East Side Sushi\u003c/a>\u003c/em>, about a Latina woman who aspires to become a sushi chef, has been racking up awards since it first debuted on the festival circuit in 2014.\u003c/p>\n\u003cp>But back in 2011, when the Oakland native was shopping his screenplay around to potential investors, it was a different story altogether.\u003c/p>\n\u003cfigure id=\"attachment_20742\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg class=\"wp-image-20742 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/anthony-lucero-web-700x336.jpg\" alt=\"Anthony Lucero\" width=\"520\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/anthony-lucero-web-700x336.jpg 700w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/anthony-lucero-web-700x336-400x192.jpg 400w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Lucero\u003c/figcaption>\u003c/figure>\n\u003cp>\"There were multiple strikes working against it,\" says the filmmaker, who was born and raised in the Fruitvale District. \"I had a very strong sense that no one wanted to pay for a film with a woman lead. The second issue was she was Mexican. And the other lead was Japanese. And you just don't see that in cinema.\"\u003c/p>\n\u003cp>Think that sounds like an oversimplification? Think again. A \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/02/22/467665890/hollywood-has-a-major-diversity-problem-usc-study-finds\" target=\"_blank\">recent report by the University of Southern California’s Annenberg School for Communication and Journalism\u003c/a> has confirmed what many in the entertainment business say has been common knowledge for decades: Hollywood's diversity problem goes far beyond the Academy Awards. Below the surface of the buzzy \u003ca href=\"https://twitter.com/search?q=%23OscarsSoWhite\" target=\"_blank\">#OscarsSoWhite\u003c/a> conversation that’s dominated social media the past few months lies an iceberg -- it's the industry itself, and it's overwhelmingly comprised of straight, white men.\u003c/p>\n\u003cp>\"Overall, the landscape of media content is still largely whitewashed,\" reports the USC study. With an eye to gender, ethnicity, and sexual orientation, researchers analyzed roles in front of and behind the camera on 109 films released by major studios in 2014, as well 305 scripted television and digital/streaming series that aired across 31 different networks. Shows distributed by Disney, NBC, CBS, Hulu, Netflix, 21st Century Fox, Sony and more were included in the data.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when the U.S. population is \u003ca href=\"http://www.bloomberg.com/news/articles/2015-06-25/american-babies-are-no-longer-mostly-non-hispanic-white\" target=\"_blank\">increasingly made up of minorities\u003c/a>, the report casts a clear spotlight on the damning degree of disparity between what Americans look like and what we see on our TV screens. Asians, Latinos, and African-Americans are all vastly underrepresented, both onscreen and off. Only 2 percent of speaking characters on television were identified as LGBT. White directors outnumber those of color by nearly 7 to 1. Only two black women directors were identified in an entire year’s worth of major motion pictures.\u003c/p>\n\u003cp>Those numbers may seem shocking -- but asked for their reactions, several local industry insiders responded with a resounding \"duh.\"\u003c/p>\n\u003cp>\"Not surprising,\" says Margaret Cho, a comic who -- sometime in between doing impressions of her mother in small San Francisco nightclubs as a teenager and becoming a household name -- had the distinction of being\u003ca href=\"http://www.npr.org/2011/05/31/136818644/margaret-cho-breaks-barriers-in-world-of-comedy\" target=\"_blank\"> the first Asian-American to have her own primetime network TV\u003c/a> show, with 1994's ABC sitcom \u003cem>All-American Girl\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_20743\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg class=\"wp-image-20743 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/22867851817_351da9804c_b-800x600.jpg\" alt=\"Margaret Cho on Fashion Police. \" width=\"481\" height=\"361\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b.jpg 1024w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho on Fashion Police.\u003c/figcaption>\u003c/figure>\n\u003cp>\"I have often been the only person of color on set or involved in an entire production. It's not unusual to me. For a long time, it was the norm, and it still is to some extent.\"\u003c/p>\n\u003cp>Cho says she gravitated toward comedy in part because of its inclusiveness, which set it apart from film and television.\u003c/p>\n\u003cp>\"I was told all the time, by many people, that I didn't belong in show business -- from my family to important agents and producers and managers and other actors,\" says Cho. But \"in comedy, there was no supervising entity limiting your participation in the medium. You just had to be good, that was all. You didn't have to fit into anyone’s story; you didn’t have to wait until there was 'Trouble in Chinatown.'\"\u003c/p>\n\u003cp>\"And then being a successful comic was like a backdoor entry into the rest of Hollywood,\" says the comic, who's currently juggling a guest-hosting job on E!'s \u003cem>Fashion Police\u003c/em> with standup, songwriting, and activism. \"I made a name for myself. I couldn't have broken into TV from the other side. There were no significant roles for people of color at all.\"\u003c/p>\n\u003cfigure id=\"attachment_20744\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-20744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/maxresdefault-400x604.jpg\" alt=\"Natalie Wood in 'West Side Story.'\" width=\"400\" height=\"604\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/maxresdefault-400x604.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/maxresdefault.jpg 736w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Wood in 'West Side Story.'\u003c/figcaption>\u003c/figure>\n\u003cp>Lucero notes that he, too, was far from shocked by the USC report's numbers. \"I've known [about the disparity] ever since I’ve known about film,\" he says. \"I mean, it goes back to Natalie Wood portraying a Puerto Rican in \u003cem>West Side Story\u003c/em>. It's not surprising, just sad.\" (For a plethora of other facepalm-worthy instances of whitewashing, check out this week's\u003ca href=\"http://www.nytimes.com/interactive/2016/02/24/arts/hollywood-diversity-inclusion.html\" target=\"_blank\">\u003cem> New York Times\u003c/em> feature\u003c/a> on being non-white in Hollywood.)\u003c/p>\n\u003cp>So: Considering this long-running legacy of underrepresentation -- what the study refers to, in turns, as an \"inclusion crisis\" and an \"epidemic of invisibility\" -- is the media's current focus on the Oscars misguided?\u003c/p>\n\u003cp>In an interview with \u003cem>Variety\u003c/em> this week, Mo'Nique, who in 2010 won the Oscar for Best Supporting Actress for \u003cem>Precious\u003c/em>, argues that the \u003ca href=\"http://variety.com/2016/film/news/monique-pay-gap-black-women-oscars-diversity-1201712344/\" target=\"_blank\">talk around \"the trophy\" is irrelevant\u003c/a> and detracts from real issues -- such as the pay gap faced by women of color. (The actress has said she was paid only $50,000 for her award-winning role.)\u003c/p>\n\u003cfigure id=\"attachment_20745\" class=\"wp-caption aligncenter\" style=\"max-width: 442px\">\u003cimg class=\"wp-image-20745 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/headshot-800x620.png\" alt=\"N'Jeri Eaton\" width=\"442\" height=\"342\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot-800x620.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot-400x310.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot-768x595.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot.png 908w\" sizes=\"(max-width: 442px) 100vw, 442px\">\u003cfigcaption class=\"wp-caption-text\">N'Jeri Eaton\u003c/figcaption>\u003c/figure>\n\u003cp>Still, \"I think it's a conversation we should be having, in part because it’s a launching point to many other conversations about diversity,\" says N'Jeri Eaton, an up-and-coming documentary filmmaker whose recent film \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\">First Friday\u003c/a>\u003c/em> examines a changing Oakland, with its accompanying race, class, and gentrification issues, via the focal point of its monthly Art Murmur.\u003c/p>\n\u003cp>\"There are so many different aspects to this -- say, for black women in particular, when black women do win [awards], what kind of roles is it for? It's always women who are in peril, this tragic black woman narrative -- because those are the opportunities we get as black women actors.\"\u003c/p>\n\u003cp>Eaton says one of the best bets for moving beyond the online conversation involves hiring decisions: When it came time to select a crew for \u003cem>First Friday\u003c/em>, she made it a point to seek out a team that reflected what Oakland actually looks like, and that comes through in the film.\u003c/p>\n\u003cp>But making change is multi-fold, she says: we must create opportunities, platforms and financial support for young people of color who are interested in filmmaking. (Her day job at San Francisco’s nonprofit media organization \u003ca href=\"http://itvs.org/\" target=\"_blank\">Independent Television Service\u003c/a> provides grants of up to $15,000 to do just that.) And the movie-going public must also vote with their wallets.\u003c/p>\n\u003cp>\"I'm a closet fan of the \u003cem>Fast and Furious\u003c/em> series,\" she says with a laugh. \"And it might seem silly, but that series is incredibly diverse, and I think that’s part of the reason it's so successful -- it's more reflective of our country, and people are dying for that. No one could say that [franchise] isn't profitable.\"\u003c/p>\n\u003cfigure id=\"attachment_20746\" class=\"wp-caption alignright\" style=\"max-width: 464px\">\u003cimg class=\" wp-image-20746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/furious-7-premiere-400x250.jpg\" alt=\"Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’ \" width=\"464\" height=\"290\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/furious-7-premiere-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/furious-7-premiere.jpg 640w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’ \u003ccite>(Carlos Piaggio/AKM-GSI**)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the Oscars serve as a springboard for discussion, however, she's all for it. \"I mean, I’m black. I think about race every day of my life, maybe every hour of my life,\" says Eaton. \"But for some people, this might be their very first entry point to thinking about race.\"\u003c/p>\n\u003cp>Cho echoes that statement. \"I think it's great,\" she says of the Oscars conversation. \"The only thing that seems to take down overt racism, invisibility, and cultural erasure is shame.\"\u003c/p>\n\u003cp>But come Monday morning, when the Oscars are in the media's rearview mirror, her focus will be back on paving her own way, making a space in entertainment outside of the studio-sanctioned blockbusters, and supporting others in the same boat.\u003c/p>\n\u003cp>\"I think that we have to make our own movies -- bring our own stories and do it any way we can, whether that’s making content for social media, making movies with our phones, making music on our laptops,\" says Cho. \"We need to do it on our own.\"\u003c/p>\n\u003cp>Anthony Lucero adds that, for a young person of color who doesn't have many high-profile role models in the industry she can relate to, putting that DIY ethic on display can be nothing short of powerful.\u003c/p>\n\u003cp>\"A lot of it is education -- filmmakers giving back. I’m doing a lot of tours at high schools and middle schools right now, to show kids that, yeah, I'm Chicano, I come from the Fruitvale District, and it’s possible to come from there and make films,\" he says. \"I do feel like it’s my duty to do that.\"\u003c/p>\n\u003cfigure id=\"attachment_20747\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg class=\"wp-image-20747 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/East-Side-Sushi-1-800x1186.jpg\" alt=\"Diana Elizabeth Torres on the poster for 'East Side Sushi.'\" width=\"460\" height=\"682\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-800x1186.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-400x593.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-768x1138.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-960x1423.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1.jpg 1012w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Diana Elizabeth Torres on the poster for 'East Side Sushi.'\u003c/figcaption>\u003c/figure>\n\u003cp>As for \u003cem>East Side Sushi\u003c/em>? Lucero wound up paying for it himself (with a little help from Kickstarter). And a couple months later, right after he took the top audience award at \u003ca href=\"http://www.cinequest.org/film-festival\" target=\"_blank\">Cinequest\u003c/a>, he got a call from the head of acquisitions at a major studio who was interested in distributing the film.\u003c/p>\n\u003cp>\"They loved the film, their whole staff loved the film, but they wanted somebody famous in the lead,” says Lucero. “They weren't comfortable putting a no-name Latina woman on an ad on the side of a bus.\"\u003c/p>\n\u003cp>So when it came time to make marketing materials, Lucero went with a big, solo shot of his leading lady -- who, yes, is Latina. Her name is Diana Elizabeth Torres.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I said, okay, I’m gonna put her face front and center on this poster. That poster that you see is my defiance against Hollywood,\" says Lucero with a laugh. \"That's just me. When there are obstacles, I go against them.\"\u003c/p>\n\n",
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"excerpt": "Lack of diversity at the Oscars may be all the buzz on social media -- but a recent report suggests the problem runs much deeper. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Lucero has too many trophies to carry at once. The writer-director's first feature film, \u003cem>\u003ca href=\"http://ww2.kqed.org/bayareabites/2015/09/15/east-side-sushi-explores-a-culture-clash-through-food-in-oakland/\" target=\"_blank\">East Side Sushi\u003c/a>\u003c/em>, about a Latina woman who aspires to become a sushi chef, has been racking up awards since it first debuted on the festival circuit in 2014.\u003c/p>\n\u003cp>But back in 2011, when the Oakland native was shopping his screenplay around to potential investors, it was a different story altogether.\u003c/p>\n\u003cfigure id=\"attachment_20742\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg class=\"wp-image-20742 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/anthony-lucero-web-700x336.jpg\" alt=\"Anthony Lucero\" width=\"520\" height=\"250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/anthony-lucero-web-700x336.jpg 700w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/anthony-lucero-web-700x336-400x192.jpg 400w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Lucero\u003c/figcaption>\u003c/figure>\n\u003cp>\"There were multiple strikes working against it,\" says the filmmaker, who was born and raised in the Fruitvale District. \"I had a very strong sense that no one wanted to pay for a film with a woman lead. The second issue was she was Mexican. And the other lead was Japanese. And you just don't see that in cinema.\"\u003c/p>\n\u003cp>Think that sounds like an oversimplification? Think again. A \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/02/22/467665890/hollywood-has-a-major-diversity-problem-usc-study-finds\" target=\"_blank\">recent report by the University of Southern California’s Annenberg School for Communication and Journalism\u003c/a> has confirmed what many in the entertainment business say has been common knowledge for decades: Hollywood's diversity problem goes far beyond the Academy Awards. Below the surface of the buzzy \u003ca href=\"https://twitter.com/search?q=%23OscarsSoWhite\" target=\"_blank\">#OscarsSoWhite\u003c/a> conversation that’s dominated social media the past few months lies an iceberg -- it's the industry itself, and it's overwhelmingly comprised of straight, white men.\u003c/p>\n\u003cp>\"Overall, the landscape of media content is still largely whitewashed,\" reports the USC study. With an eye to gender, ethnicity, and sexual orientation, researchers analyzed roles in front of and behind the camera on 109 films released by major studios in 2014, as well 305 scripted television and digital/streaming series that aired across 31 different networks. Shows distributed by Disney, NBC, CBS, Hulu, Netflix, 21st Century Fox, Sony and more were included in the data.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when the U.S. population is \u003ca href=\"http://www.bloomberg.com/news/articles/2015-06-25/american-babies-are-no-longer-mostly-non-hispanic-white\" target=\"_blank\">increasingly made up of minorities\u003c/a>, the report casts a clear spotlight on the damning degree of disparity between what Americans look like and what we see on our TV screens. Asians, Latinos, and African-Americans are all vastly underrepresented, both onscreen and off. Only 2 percent of speaking characters on television were identified as LGBT. White directors outnumber those of color by nearly 7 to 1. Only two black women directors were identified in an entire year’s worth of major motion pictures.\u003c/p>\n\u003cp>Those numbers may seem shocking -- but asked for their reactions, several local industry insiders responded with a resounding \"duh.\"\u003c/p>\n\u003cp>\"Not surprising,\" says Margaret Cho, a comic who -- sometime in between doing impressions of her mother in small San Francisco nightclubs as a teenager and becoming a household name -- had the distinction of being\u003ca href=\"http://www.npr.org/2011/05/31/136818644/margaret-cho-breaks-barriers-in-world-of-comedy\" target=\"_blank\"> the first Asian-American to have her own primetime network TV\u003c/a> show, with 1994's ABC sitcom \u003cem>All-American Girl\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_20743\" class=\"wp-caption aligncenter\" style=\"max-width: 481px\">\u003cimg class=\"wp-image-20743 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/22867851817_351da9804c_b-800x600.jpg\" alt=\"Margaret Cho on Fashion Police. \" width=\"481\" height=\"361\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/22867851817_351da9804c_b.jpg 1024w\" sizes=\"(max-width: 481px) 100vw, 481px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho on Fashion Police.\u003c/figcaption>\u003c/figure>\n\u003cp>\"I have often been the only person of color on set or involved in an entire production. It's not unusual to me. For a long time, it was the norm, and it still is to some extent.\"\u003c/p>\n\u003cp>Cho says she gravitated toward comedy in part because of its inclusiveness, which set it apart from film and television.\u003c/p>\n\u003cp>\"I was told all the time, by many people, that I didn't belong in show business -- from my family to important agents and producers and managers and other actors,\" says Cho. But \"in comedy, there was no supervising entity limiting your participation in the medium. You just had to be good, that was all. You didn't have to fit into anyone’s story; you didn’t have to wait until there was 'Trouble in Chinatown.'\"\u003c/p>\n\u003cp>\"And then being a successful comic was like a backdoor entry into the rest of Hollywood,\" says the comic, who's currently juggling a guest-hosting job on E!'s \u003cem>Fashion Police\u003c/em> with standup, songwriting, and activism. \"I made a name for myself. I couldn't have broken into TV from the other side. There were no significant roles for people of color at all.\"\u003c/p>\n\u003cfigure id=\"attachment_20744\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg class=\"size-thumbnail wp-image-20744\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/maxresdefault-400x604.jpg\" alt=\"Natalie Wood in 'West Side Story.'\" width=\"400\" height=\"604\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/maxresdefault-400x604.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/maxresdefault.jpg 736w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Wood in 'West Side Story.'\u003c/figcaption>\u003c/figure>\n\u003cp>Lucero notes that he, too, was far from shocked by the USC report's numbers. \"I've known [about the disparity] ever since I’ve known about film,\" he says. \"I mean, it goes back to Natalie Wood portraying a Puerto Rican in \u003cem>West Side Story\u003c/em>. It's not surprising, just sad.\" (For a plethora of other facepalm-worthy instances of whitewashing, check out this week's\u003ca href=\"http://www.nytimes.com/interactive/2016/02/24/arts/hollywood-diversity-inclusion.html\" target=\"_blank\">\u003cem> New York Times\u003c/em> feature\u003c/a> on being non-white in Hollywood.)\u003c/p>\n\u003cp>So: Considering this long-running legacy of underrepresentation -- what the study refers to, in turns, as an \"inclusion crisis\" and an \"epidemic of invisibility\" -- is the media's current focus on the Oscars misguided?\u003c/p>\n\u003cp>In an interview with \u003cem>Variety\u003c/em> this week, Mo'Nique, who in 2010 won the Oscar for Best Supporting Actress for \u003cem>Precious\u003c/em>, argues that the \u003ca href=\"http://variety.com/2016/film/news/monique-pay-gap-black-women-oscars-diversity-1201712344/\" target=\"_blank\">talk around \"the trophy\" is irrelevant\u003c/a> and detracts from real issues -- such as the pay gap faced by women of color. (The actress has said she was paid only $50,000 for her award-winning role.)\u003c/p>\n\u003cfigure id=\"attachment_20745\" class=\"wp-caption aligncenter\" style=\"max-width: 442px\">\u003cimg class=\"wp-image-20745 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/headshot-800x620.png\" alt=\"N'Jeri Eaton\" width=\"442\" height=\"342\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot-800x620.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot-400x310.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot-768x595.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/headshot.png 908w\" sizes=\"(max-width: 442px) 100vw, 442px\">\u003cfigcaption class=\"wp-caption-text\">N'Jeri Eaton\u003c/figcaption>\u003c/figure>\n\u003cp>Still, \"I think it's a conversation we should be having, in part because it’s a launching point to many other conversations about diversity,\" says N'Jeri Eaton, an up-and-coming documentary filmmaker whose recent film \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/first-friday/\" target=\"_blank\">First Friday\u003c/a>\u003c/em> examines a changing Oakland, with its accompanying race, class, and gentrification issues, via the focal point of its monthly Art Murmur.\u003c/p>\n\u003cp>\"There are so many different aspects to this -- say, for black women in particular, when black women do win [awards], what kind of roles is it for? It's always women who are in peril, this tragic black woman narrative -- because those are the opportunities we get as black women actors.\"\u003c/p>\n\u003cp>Eaton says one of the best bets for moving beyond the online conversation involves hiring decisions: When it came time to select a crew for \u003cem>First Friday\u003c/em>, she made it a point to seek out a team that reflected what Oakland actually looks like, and that comes through in the film.\u003c/p>\n\u003cp>But making change is multi-fold, she says: we must create opportunities, platforms and financial support for young people of color who are interested in filmmaking. (Her day job at San Francisco’s nonprofit media organization \u003ca href=\"http://itvs.org/\" target=\"_blank\">Independent Television Service\u003c/a> provides grants of up to $15,000 to do just that.) And the movie-going public must also vote with their wallets.\u003c/p>\n\u003cp>\"I'm a closet fan of the \u003cem>Fast and Furious\u003c/em> series,\" she says with a laugh. \"And it might seem silly, but that series is incredibly diverse, and I think that’s part of the reason it's so successful -- it's more reflective of our country, and people are dying for that. No one could say that [franchise] isn't profitable.\"\u003c/p>\n\u003cfigure id=\"attachment_20746\" class=\"wp-caption alignright\" style=\"max-width: 464px\">\u003cimg class=\" wp-image-20746\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/furious-7-premiere-400x250.jpg\" alt=\"Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’ \" width=\"464\" height=\"290\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/furious-7-premiere-400x250.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/furious-7-premiere.jpg 640w\" sizes=\"(max-width: 464px) 100vw, 464px\">\u003cfigcaption class=\"wp-caption-text\">Ludacris, Dwayne Johnson, Michelle Rodriguez and Tyrese Gibson at the Hollywood premiere of ‘Furious 7’ \u003ccite>(Carlos Piaggio/AKM-GSI**)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the Oscars serve as a springboard for discussion, however, she's all for it. \"I mean, I’m black. I think about race every day of my life, maybe every hour of my life,\" says Eaton. \"But for some people, this might be their very first entry point to thinking about race.\"\u003c/p>\n\u003cp>Cho echoes that statement. \"I think it's great,\" she says of the Oscars conversation. \"The only thing that seems to take down overt racism, invisibility, and cultural erasure is shame.\"\u003c/p>\n\u003cp>But come Monday morning, when the Oscars are in the media's rearview mirror, her focus will be back on paving her own way, making a space in entertainment outside of the studio-sanctioned blockbusters, and supporting others in the same boat.\u003c/p>\n\u003cp>\"I think that we have to make our own movies -- bring our own stories and do it any way we can, whether that’s making content for social media, making movies with our phones, making music on our laptops,\" says Cho. \"We need to do it on our own.\"\u003c/p>\n\u003cp>Anthony Lucero adds that, for a young person of color who doesn't have many high-profile role models in the industry she can relate to, putting that DIY ethic on display can be nothing short of powerful.\u003c/p>\n\u003cp>\"A lot of it is education -- filmmakers giving back. I’m doing a lot of tours at high schools and middle schools right now, to show kids that, yeah, I'm Chicano, I come from the Fruitvale District, and it’s possible to come from there and make films,\" he says. \"I do feel like it’s my duty to do that.\"\u003c/p>\n\u003cfigure id=\"attachment_20747\" class=\"wp-caption alignright\" style=\"max-width: 460px\">\u003cimg class=\"wp-image-20747 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/East-Side-Sushi-1-800x1186.jpg\" alt=\"Diana Elizabeth Torres on the poster for 'East Side Sushi.'\" width=\"460\" height=\"682\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-800x1186.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-400x593.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-768x1138.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1-960x1423.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/East-Side-Sushi-1.jpg 1012w\" sizes=\"(max-width: 460px) 100vw, 460px\">\u003cfigcaption class=\"wp-caption-text\">Diana Elizabeth Torres on the poster for 'East Side Sushi.'\u003c/figcaption>\u003c/figure>\n\u003cp>As for \u003cem>East Side Sushi\u003c/em>? Lucero wound up paying for it himself (with a little help from Kickstarter). And a couple months later, right after he took the top audience award at \u003ca href=\"http://www.cinequest.org/film-festival\" target=\"_blank\">Cinequest\u003c/a>, he got a call from the head of acquisitions at a major studio who was interested in distributing the film.\u003c/p>\n\u003cp>\"They loved the film, their whole staff loved the film, but they wanted somebody famous in the lead,” says Lucero. “They weren't comfortable putting a no-name Latina woman on an ad on the side of a bus.\"\u003c/p>\n\u003cp>So when it came time to make marketing materials, Lucero went with a big, solo shot of his leading lady -- who, yes, is Latina. Her name is Diana Elizabeth Torres.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca target=\"_blank\" href=\"http://www.npr.org/sections/codeswitch/2016/02/25/468002136/-oscarssowhite-forsolong\" rel=\"noopener\">With the 2016 Oscar ceremony, and the film industry at large, under scrutiny for its lack of diverse representation,\u003c/a> it’s refreshing to find that their Student Academy Awards recognizes talent from a large cross-section of international cinema. Every year, this awards show celebrates the best experimental, animation, documentary, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/25/future-oscar-winners-meet-the-student-academy-award-winners/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/25/future-oscar-winners-meet-the-student-academy-award-winners/\" target=\"_blank\" title=\"Future Oscar Winners: Meet The Student Academy Award Winners\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>[contextly_sidebar id=”H0tNBlaRREak7fdaT3Do83mArhct2tNW”]\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A newly released study suggests diversity in TV and film is so bad that the hashtag #OscarsSoWhite should probably be changed to #HollywoodSoWhite.\u003c/p>\n\u003cp>That’s because of an “epidemic of invisibility” cited by researchers at the University of Southern California, who analyzed more than 21,000 characters and behind-the-scenes workers on more than 400 films and TV shows released from September 2014 through August 2015. They tabulated representations of gender, race, ethnicity and sexual status.\u003c/p>\n\u003cp>“We’re seeing that there’s not just a diversity problem in Hollywood; there’s actually an inclusion crisis,” Stacy L. Smith, one of the study’s authors and founding director of the Media, Diversity and Social Change Initiative at USC’s Annenberg School for Communication and Journalism, said in an interview.\u003c/p>\n\u003cp>The study, \u003ca href=\"http://annenberg.usc.edu/pages/~/media/MDSCI/CARDReport%20FINAL%2022216.ashx\">titled “Inclusion or Invisibility? Comprehensive Annenberg Report on Diversity in Entertainment,”\u003c/a> found just one-third of speaking characters were female (33.5 percent), despite the fact that women represent just over half the population in America. Just 28.3 percent of characters with dialogue were from nonwhite racial/ethnic groups, though such groups are nearly 40 percent of the U.S. population.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘I think we’re seeing, across the landscape, an erasure of certain groups… This is really [an] epidemic of invisibility.’\u003ccite>USC study author Stacy L. Smith\u003c/cite>\u003c/aside>\n\u003cp>With less than a week before an Oscars ceremony that has already been criticized for an all-white slate of acting nominees, the study shows the film industry does worse than television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just 3.4 percent of film directors were female, and only 7 percent of films had a cast whose balance of race and ethnicity reflected the country’s diversity. In broadcast TV, 17 percent of directors were female and 19 percent of programs were ethnically balanced.\u003c/p>\n\u003cp>Broadcast TV also saw a number of TV shows featuring characters of color debut during the study’s tabulation period, including \u003cem>Black-ish\u003c/em> and \u003cem>Fresh Off the Boat\u003c/em> on ABC, \u003cem>Jane the Virgin\u003c/em> on The CW, and \u003cem>Empire\u003c/em> on Fox.\u003c/p>\n\u003cp>Still, when researchers looked at all TV shows — including broadcast, cable and streaming services — they also found underrepresentation, noting that women of color over 40 were deemed “largely invisible” and just 22 percent of TV series creators were female.\u003c/p>\n\u003cp>Overall, the study found half the films and TV shows they analyzed had no Asian-speaking characters and more than one-fifth of them had no black characters with dialogue. Just 2 percent of speaking characters were identified as lesbian, gay, bisexual or transsexual, and more than half the LGBT characters in all the films they examined came from two movies.\u003c/p>\n\u003cp>“The film industry still functions as a straight, white, boy’s club,” the study states. In the interview, Smith says, “I think we’re seeing, across the landscape, an erasure of certain groups; women, people of color, the LGBT community … this is really [an] epidemic of invisibility that points to a lack of inclusivity across [film and TV].”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When looking at how women are depicted, the study found female characters were four times more likely to be shown in sexy attire, three times more likely to show some nudity and nearly four times as likely to be referred to as physically attractive.\u003c/p>\n\u003cp>But their results also indicated films and TV shows with women or people of color in the important jobs behind the scenes — director, producer or writer — tended to have better diversity numbers.\u003c/p>\n\u003cp>Across TV and film, the underrepresentation of nonwhite characters falls mostly on Hispanics. Among more than 10,000 characters whose race or ethnicity could be identified, proportions of white, black and Asian characters came close to U.S. population figures. But Hispanics were just 5.8 percent of characters, despite being about 17 percent of the U.S. population, according to Census Bureau data.\u003c/p>\n\u003cp>Researchers examined 109 films and 305 TV series across broadcast, cable and digital platforms. They also looked at more than 1,500 executives and graded 10 media companies for their onscreen and behind-the-scenes representation of women and people of color.\u003c/p>\n\u003cp>None of the six film distributors evaluated — 21st Century Fox, NBC Universal, Sony, the Walt Disney Company, Time Warner or Viacom — received a passing grade for inclusion. But among the TV companies they examined, Disney and the CW performed best, at 70 percent.\u003c/p>\n\u003cp>The study’s authors also suggest solutions for the lack of diversity, including creating target goals for inclusion that would be public and drawing up lists of potential hires for writing and directing jobs that would be 50 percent female and 38 percent people of color.\u003c/p>\n\u003cp>“It’s about who is greenlighting those decisions and who is giving the OK for certain stories to be told,” Smith says. “When a very narrow slice of the population is in control of power and has the ability to greenlight a project, then we are going to see products and stories that reflect that narrow worldview.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.youtube.com/subscription_center?add_user=filmschoolshorts\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>A scraggly girl named Pearl decides to crawl into the claw machine full of furry stuffed animals. Why can’t Mommy just understand and leave her be?\u003c/p>\n\u003cp>\u003cspan>[youtube https://www.youtube.com/watch?v=VsNZZKqi8Xk?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span>\u003c/p>\n\u003cp>An official selection of the 2013 Slamdance Film Festival.\u003c/p>\n\u003cp>Filmmaker Kate \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/19/when-you-feel-like-crawling-in-a-claw-machine-calarts-short-film/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/19/when-you-feel-like-crawling-in-a-claw-machine-calarts-short-film/\" target=\"_blank\" title=\"When You Feel Like Crawling in a Claw Machine (CalArts Short Film)\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.youtube.com/subscription_center?add_user=filmschoolshorts\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>A scraggly girl named Pearl decides to crawl into the claw machine full of furry stuffed animals. Why can’t Mommy just understand and leave her be?\u003c/p>\n\u003cp>\u003cspan>\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/VsNZZKqi8Xk?version=3'\n title='//www.youtube.com/embed/VsNZZKqi8Xk?version=3'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>An official selection of the 2013 Slamdance Film Festival.\u003c/p>\n\u003cp>Filmmaker Kate \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/19/when-you-feel-like-crawling-in-a-claw-machine-calarts-short-film/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/19/when-you-feel-like-crawling-in-a-claw-machine-calarts-short-film/\" target=\"_blank\" title=\"When You Feel Like Crawling in a Claw Machine (CalArts Short Film)\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Acid Flashback: Santa Cruz Bird Frenzy, Hitchcock and a Biological Whodunit",
"title": "Acid Flashback: Santa Cruz Bird Frenzy, Hitchcock and a Biological Whodunit",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Long before \u003ca href=\"http://www.nwfsc.noaa.gov/hab/habs_toxins/marine_biotoxins/da/\" target=\"_blank\">domoic acid\u003c/a> ruined Northern California's \u003ca href=\"http://ww2.kqed.org/science/2015/11/05/why-is-an-algae-bloom-closing-crab-season-in-california/\" target=\"_blank\">2015-16 Dungeness crab season\u003c/a>, it was responsible for a panic along the Santa Cruz County seashore, which in turn informed a classic piece of creepy California cinema.\u003c/p>\n\u003cp>Flashback to August 1961: In Germany, an enduring symbol of the Cold War -- \u003ca href=\"http://www.bbc.co.uk/history/places/berlin_wall\" target=\"_blank\">the Berlin Wall\u003c/a> -- is under construction. Barack Obama is born in Honolulu. No one but a handful of Japanese researchers has ever heard of domoic acid. And in beachside communities near Santa Cruz, birds are going nuts.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/249102907\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Great Bird Frenzy took place early the morning of Friday, Aug. 18, 1961. Here's how longtime \u003ca href=\"http://www.santacruzsentinel.com/article/zz/20120115/NEWS/120117661\" target=\"_blank\">Santa Cruz Sentinel reporter and columnist Wally Trabing\u003c/a> described the scene that unfolded along the shoreline just east of Santa Cruz:\u003c/p>\n\u003cblockquote>\u003cp>A massive flight of \u003ca href=\"http://currents.ucsc.edu/06-07/08-14/shearwaters.asp\" target=\"_blank\">sooty shearwaters\u003c/a>, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.\u003c/p>\n\u003cp>Residents, especially in the Pleasure Point and Capitola area, were awakened about 3 a.m. today by the rain of birds slamming against their homes.\u003c/p>\n\u003cp>Dead and stunned seabirds littered the streets and roads in the foggy, early dawn. Startled by the invasion, residents rushed out on their lawns with flashlights, then rushed back inside, as the birds flew toward their light.\u003c/p>\n\u003cp>Television aerial supports were severed, and one power line was shorted out about 4 a.m. on Merrill Avenue when the birds hitting the lines slapped them together.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10871218\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds.jpg\" rel=\"attachment wp-att-10871218\">\u003cimg class=\"size-thumbnail wp-image-10871218\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg\" alt=\"Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.'\" width=\"300\" height=\"781\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds.jpg 546w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.' \u003ccite>(Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following days, the Sentinel reported crews picking up truckloads of dead birds from streets and lawns in the area. For an explanation of the avian behavior, the paper turned to \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c84b332g/\" target=\"_blank\">Ward Russell\u003c/a>, a specimen collector and preparator at UC Berkeley's Museum of Vertebrate Zoology. (Russell's \u003ca href=\"http://blogrr.blogspot.com/2009/06/meet-beetles.html\" target=\"_blank\">claim to fame\u003c/a>, it appears, is that he promoted the use of \u003ca href=\"http://voices.nationalgeographic.com/2013/01/17/flesh-eating-beetles-explained/\" target=\"_blank\">flesh-eating beetles\u003c/a> -- or dermestid beetles -- to clean skeletons.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Russell opined that the sooty shearwaters, which fly tens of thousands of miles around the Pacific basin each year, became confused by a thick fog and flapped in a blind panic toward lights onshore. Others thought the sound of gunfire from the Army's Fort Ord might have spooked the birds.\u003c/p>\n\u003cp>One of those who took note of the sooty shearwater episode was movie director Alfred Hitchcock, who owned \u003ca href=\"http://www.santacruzpl.org/history/articles/299/\" target=\"_blank\">a 200-acre estate\u003c/a> at the end of a narrow, winding road in the Santa Cruz Mountains. Three days after the invasion, the Sentinel buried an item on page 4: Hitchcock had read the paper's account of the invasion and planned to use it in his adaptation of the Daphne Du Maurier \u003ca href=\"https://northviewulrich.files.wordpress.com/2014/11/the-birds-full-text.pdf\" target=\"_blank\">short story\u003c/a> \"The Birds.\"\u003c/p>\n\u003cp>And in fact, the Santa Cruz incident and Ward Russell's theory both made it into Hitchcock's \u003ca href=\"http://the.hitchcock.zone/wiki/Scripts:_The_Birds_(final_draft,_2nd_rev,_02/Mar/1962)\" target=\"_blank\">final script\u003c/a>, set in Bodega Bay. In the film version of \"The Birds,\" Mitch Brenner, the character played by Rod Taylor, is trying to think of a way to drive away flocks of crows and gulls that have begun terrorizing the locals. Brenner has the following exchange with several other characters and a bird sympathizer identified only as Mrs. Bundy:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Mitch:\u003c/strong> Mrs. Bundy, you said something about Santa Cruz. About seagulls getting lost in the fog, and heading in for the lights.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> We don't have any fog this time of year, Mitch.\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll make our own fog.\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How do you plan to do that?\u003c/p>\n\u003cp>\u003cstrong>Mitch\u003c/strong>: With smoke.\u003c/p>\n\u003cp>\u003cstrong>Malone:\u003c/strong> There's an ordinance against burning anything in this town, unless it's...\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll use smoke pots. Like the Army uses.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> What good'll that do? Smoke's as bad as birds.\u003c/p>\n\u003cp>\u003cstrong>Mrs. Bundy:\u003c/strong> Birds are not bad!\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How can we go on living here if we blanket the town with smoke?\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> Can we go on living here otherwise?\u003c/p>\u003c/blockquote>\n\u003cp>For decades, there was no better explanation for the the 1961 Santa Cruz bird mystery than they'd gotten lost in the fog.\u003c/p>\n\u003cp>But in 1991, a clue appeared. Hundreds of brown pelicans and cormorants were found sick or dead along the Monterey Bay shoreline. \u003ca href=\"http://www.jstor.org/stable/20460314?seq=1#page_scan_tab_contents\" target=\"_blank\">Veterinary researchers\u003c/a> eliminated viruses, bacteria or heavy-metal poisoning as the cause, then determined the birds had suffered acute poisoning by domoic acid. The toxin was found both in anchovies the birds had fed on and in plankton the fish had consumed.\u003c/p>\n\u003cp>UC Santa Cruz marine biologist David Garrison studied the 1991 incident and speculated several years later that domoic acid might have been responsible for the 1961 bird invasion. It wasn't until 2012, more than half a century after the episode, that researchers from UC San Diego's Scripps Institution of Oceanography found direct evidence that the sooty shearwaters had indeed suffered domoic acid poisoning.\u003c/p>\n\u003cp>The Scripps scientists used an archive of biological samples from California Cooperative Oceanic Fisheries Investigations, a marine monitoring program in operation since 1949, to try to investigate the conditions the birds would have encountered in Monterey Bay in the summer of 1961. Specifically, the team was looking for samples that might show the presence of Pseudo-nitzschia, a genus of diatoms that includes species known to produce domoic acid.\u003c/p>\n\u003cp>In a summary of the research published in Nature Geoscience, the Scripps oceanographers reported that Monterey Bay zooplankton collected in 1961 showed high levels of the toxin-producing diatoms. Here's the mildly worded conclusion to the Scripps team's findings:\u003c/p>\n\u003cblockquote>\u003cp>Given the similarities between events in 1961 and the domoic acid-induced poisoning of 1991, we suggest that toxic Pseudo-nitzschia were probably responsible for the odd behaviour and death of Sooty shearwaters in August 1961. This brief study therefore supports the contention that domoic acid caused the seabird frenzy ... and strongly suggests that domoic-acid-producing phytoplankton have been an agent of marine animal mortality in the California Current system for at least the past fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>OK -- maybe not quite \u003ca href=\"http://www.metv.com/shows/perry-mason\" target=\"_blank\">Perry Mason\u003c/a> stuff. But case closed.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before \u003ca href=\"http://www.nwfsc.noaa.gov/hab/habs_toxins/marine_biotoxins/da/\" target=\"_blank\">domoic acid\u003c/a> ruined Northern California's \u003ca href=\"http://ww2.kqed.org/science/2015/11/05/why-is-an-algae-bloom-closing-crab-season-in-california/\" target=\"_blank\">2015-16 Dungeness crab season\u003c/a>, it was responsible for a panic along the Santa Cruz County seashore, which in turn informed a classic piece of creepy California cinema.\u003c/p>\n\u003cp>Flashback to August 1961: In Germany, an enduring symbol of the Cold War -- \u003ca href=\"http://www.bbc.co.uk/history/places/berlin_wall\" target=\"_blank\">the Berlin Wall\u003c/a> -- is under construction. Barack Obama is born in Honolulu. No one but a handful of Japanese researchers has ever heard of domoic acid. And in beachside communities near Santa Cruz, birds are going nuts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/249102907&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/249102907'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Great Bird Frenzy took place early the morning of Friday, Aug. 18, 1961. Here's how longtime \u003ca href=\"http://www.santacruzsentinel.com/article/zz/20120115/NEWS/120117661\" target=\"_blank\">Santa Cruz Sentinel reporter and columnist Wally Trabing\u003c/a> described the scene that unfolded along the shoreline just east of Santa Cruz:\u003c/p>\n\u003cblockquote>\u003cp>A massive flight of \u003ca href=\"http://currents.ucsc.edu/06-07/08-14/shearwaters.asp\" target=\"_blank\">sooty shearwaters\u003c/a>, fresh from a feast of anchovies, collided with shoreside structures from Pleasure Point to Rio del Mar during the night.\u003c/p>\n\u003cp>Residents, especially in the Pleasure Point and Capitola area, were awakened about 3 a.m. today by the rain of birds slamming against their homes.\u003c/p>\n\u003cp>Dead and stunned seabirds littered the streets and roads in the foggy, early dawn. Startled by the invasion, residents rushed out on their lawns with flashlights, then rushed back inside, as the birds flew toward their light.\u003c/p>\n\u003cp>Television aerial supports were severed, and one power line was shorted out about 4 a.m. on Merrill Avenue when the birds hitting the lines slapped them together.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10871218\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds.jpg\" rel=\"attachment wp-att-10871218\">\u003cimg class=\"size-thumbnail wp-image-10871218\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg\" alt=\"Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.'\" width=\"300\" height=\"781\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds-400x1042.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/hitchcockbirds.jpg 546w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Item from the Aug. 21, 1961, edition of the Santa Cruz Sentinel reporting Alfred Hitchcock's interest in the local bird 'invasion.' \u003ccite>(Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the following days, the Sentinel reported crews picking up truckloads of dead birds from streets and lawns in the area. For an explanation of the avian behavior, the paper turned to \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c84b332g/\" target=\"_blank\">Ward Russell\u003c/a>, a specimen collector and preparator at UC Berkeley's Museum of Vertebrate Zoology. (Russell's \u003ca href=\"http://blogrr.blogspot.com/2009/06/meet-beetles.html\" target=\"_blank\">claim to fame\u003c/a>, it appears, is that he promoted the use of \u003ca href=\"http://voices.nationalgeographic.com/2013/01/17/flesh-eating-beetles-explained/\" target=\"_blank\">flesh-eating beetles\u003c/a> -- or dermestid beetles -- to clean skeletons.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Russell opined that the sooty shearwaters, which fly tens of thousands of miles around the Pacific basin each year, became confused by a thick fog and flapped in a blind panic toward lights onshore. Others thought the sound of gunfire from the Army's Fort Ord might have spooked the birds.\u003c/p>\n\u003cp>One of those who took note of the sooty shearwater episode was movie director Alfred Hitchcock, who owned \u003ca href=\"http://www.santacruzpl.org/history/articles/299/\" target=\"_blank\">a 200-acre estate\u003c/a> at the end of a narrow, winding road in the Santa Cruz Mountains. Three days after the invasion, the Sentinel buried an item on page 4: Hitchcock had read the paper's account of the invasion and planned to use it in his adaptation of the Daphne Du Maurier \u003ca href=\"https://northviewulrich.files.wordpress.com/2014/11/the-birds-full-text.pdf\" target=\"_blank\">short story\u003c/a> \"The Birds.\"\u003c/p>\n\u003cp>And in fact, the Santa Cruz incident and Ward Russell's theory both made it into Hitchcock's \u003ca href=\"http://the.hitchcock.zone/wiki/Scripts:_The_Birds_(final_draft,_2nd_rev,_02/Mar/1962)\" target=\"_blank\">final script\u003c/a>, set in Bodega Bay. In the film version of \"The Birds,\" Mitch Brenner, the character played by Rod Taylor, is trying to think of a way to drive away flocks of crows and gulls that have begun terrorizing the locals. Brenner has the following exchange with several other characters and a bird sympathizer identified only as Mrs. Bundy:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Mitch:\u003c/strong> Mrs. Bundy, you said something about Santa Cruz. About seagulls getting lost in the fog, and heading in for the lights.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> We don't have any fog this time of year, Mitch.\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll make our own fog.\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How do you plan to do that?\u003c/p>\n\u003cp>\u003cstrong>Mitch\u003c/strong>: With smoke.\u003c/p>\n\u003cp>\u003cstrong>Malone:\u003c/strong> There's an ordinance against burning anything in this town, unless it's...\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> We'll use smoke pots. Like the Army uses.\u003c/p>\n\u003cp>\u003cstrong>Deke:\u003c/strong> What good'll that do? Smoke's as bad as birds.\u003c/p>\n\u003cp>\u003cstrong>Mrs. Bundy:\u003c/strong> Birds are not bad!\u003c/p>\n\u003cp>\u003cstrong>Sholes:\u003c/strong> How can we go on living here if we blanket the town with smoke?\u003c/p>\n\u003cp>\u003cstrong>Mitch:\u003c/strong> Can we go on living here otherwise?\u003c/p>\u003c/blockquote>\n\u003cp>For decades, there was no better explanation for the the 1961 Santa Cruz bird mystery than they'd gotten lost in the fog.\u003c/p>\n\u003cp>But in 1991, a clue appeared. Hundreds of brown pelicans and cormorants were found sick or dead along the Monterey Bay shoreline. \u003ca href=\"http://www.jstor.org/stable/20460314?seq=1#page_scan_tab_contents\" target=\"_blank\">Veterinary researchers\u003c/a> eliminated viruses, bacteria or heavy-metal poisoning as the cause, then determined the birds had suffered acute poisoning by domoic acid. The toxin was found both in anchovies the birds had fed on and in plankton the fish had consumed.\u003c/p>\n\u003cp>UC Santa Cruz marine biologist David Garrison studied the 1991 incident and speculated several years later that domoic acid might have been responsible for the 1961 bird invasion. It wasn't until 2012, more than half a century after the episode, that researchers from UC San Diego's Scripps Institution of Oceanography found direct evidence that the sooty shearwaters had indeed suffered domoic acid poisoning.\u003c/p>\n\u003cp>The Scripps scientists used an archive of biological samples from California Cooperative Oceanic Fisheries Investigations, a marine monitoring program in operation since 1949, to try to investigate the conditions the birds would have encountered in Monterey Bay in the summer of 1961. Specifically, the team was looking for samples that might show the presence of Pseudo-nitzschia, a genus of diatoms that includes species known to produce domoic acid.\u003c/p>\n\u003cp>In a summary of the research published in Nature Geoscience, the Scripps oceanographers reported that Monterey Bay zooplankton collected in 1961 showed high levels of the toxin-producing diatoms. Here's the mildly worded conclusion to the Scripps team's findings:\u003c/p>\n\u003cblockquote>\u003cp>Given the similarities between events in 1961 and the domoic acid-induced poisoning of 1991, we suggest that toxic Pseudo-nitzschia were probably responsible for the odd behaviour and death of Sooty shearwaters in August 1961. This brief study therefore supports the contention that domoic acid caused the seabird frenzy ... and strongly suggests that domoic-acid-producing phytoplankton have been an agent of marine animal mortality in the California Current system for at least the past fifty years.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>OK -- maybe not quite \u003ca href=\"http://www.metv.com/shows/perry-mason\" target=\"_blank\">Perry Mason\u003c/a> stuff. But case closed.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Robert Eggers Has Sympathy for the Devil in 'The Witch'",
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"content": "\u003cp>\u003ca href=\"http://a24films.com/films/witch/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Witch\u003c/em>\u003c/a> is one of those rare films that makes beautiful use of the color black. Director Robert Eggers and his cinematographer Jarin Blaschke capture its fluidity and menace. All the neutral palettes at the center of the frame are beholden to the recurring darkness, and everything else the eye cannot see.\u003c/p>\n\u003cp>Costume and production designs reflect the wintry tones of hemlock and white pine trees shivering in the background. And the lighting — both interior and exterior — is cloaked in a state of perpetual dusk. Each scene holds an immanence: when the burnt out candles exude only smoke, something unknown and invisible will arrive by nightfall.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iQXmlf3Sefg\u003c/p>\n\u003cp>The opening scene is set in a court of law. A man on trial for his religious views is seen from behind: we can hear his impassioned testimony, but his face is hidden. The silent camera speaks volumes in this establishing shot. The point of view belongs to the man’s wife Katherine and their children as they watch uneasily from the gallery. After the verdict is rendered, he is cast out of the community. Without questioning his authority, his family follows him into the wilderness. Welcome to the American colonies circa 1630 and its entrenched patriarchy.\u003c/p>\n\u003cfigure id=\"attachment_11338425\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11338425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/witch_c.jpg\" alt=\"Dinner table prayer in The Witch; Courtesy A24 Films.\" width=\"600\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_c.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_c-400x241.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dinner table prayer in The Witch; Courtesy A24 Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Eggers, recently in town for an Alamo Drafthouse screening of \u003ci>The Witch\u003c/i>, his first feature film, explained the staunch behavior of William, the father, “Basically there were people like \u003ca href=\"http://www.history.com/topics/roger-williams\" target=\"_blank\" rel=\"noopener\">Roger Williams\u003c/a> who came over here. He was such an austere Puritan that he kept getting kicked out of these communities because he was holier than them. William is the kind of guy who would say you’ve got the cross of St. George on the flag. That’s idol worship. That’s blasphemy. Take that down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Every unfortunate plot turn that follows stems from William’s severe religiosity and his inability to compromise his beliefs, even if it means imperiling his family by moving them outside of the colony’s high, protective walls. While zealots like William still populate America today, I asked Eggers, who was born and raised in New Hampshire, about the challenges of creating a believable film set in 17th-century New England. “This has to be my childhood memory of the day that I talked to my father in the corn field and what he smelled like and what the mist was like on the corn. That level of specificity needs to go into it. It’s not enough for the design to be good and the shot to be good and the light to be natural light or whatever. If we’re not treating that material with that kind of personal connection, then we can’t hope to transport an audience,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11338426\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11338426\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/witch_b.jpg\" alt=\"Hemlock and pine tress in The Witch; Courtesy A24 Films.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_b-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hemlock and pine tress in The Witch; Courtesy A24 Films.\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drawing from his sense memories, Eggers wrote and researched the era for several years before going into production. After filming the video short \u003cem>Hansel and Gretel\u003c/em> in 2007, he decided to explore the origin myths surrounding what it meant to be a witch. “Today an evil witch is like a plastic Halloween decoration that doesn’t mean much to anyone. In the 17th century, an evil witch was a real primal, horrible, terrifying thing that every single person knew exactly what it meant,” he says.\u003c/p>\n\u003cp>What it means in the first dozen minutes of the film is the disappearance of William and Katherine’s newborn son. Eggers felt audiences needed to understand the stakes right away. “This is what a witch is capable of,” he says.\u003c/p>\n\u003cp>Because their eldest daughter Thomasin (Anya Taylor-Joy) is minding the baby when he goes kidnapped, the family begins to suspect her of wrongdoing. \u003cem>The Witch\u003c/em> immediately creates suspense; we, the audience, know Thomasin is not to blame.\u003c/p>\n\u003cp>\u003ci>The Witch\u003c/i> should establish Taylor-Joy as an actress to watch the same way \u003cem>Winter’s Bone\u003c/em> (2010) did for Jennifer Lawrence. Eggers’s lens effectively annunciates her. “You want to know what she is thinking but you don’t. She can be telling you what she’s thinking and you’re still trying to get in there, which was really crucial for the character. She delivered the dialogue with the intonations that I heard as I wrote it,” he says.\u003c/p>\n\u003cp>He may have found his muse in Taylor-Joy but she isn’t just a source of inspiration. The actress creates her character before our eyes. In Thomasin, she instinctually resists the family’s scapegoating by slowly tapping into a set of inner resources. The actress fuses the uncertainty of Thomasin’s life at the forest’s edge with her own adolescent vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_11338427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11338427 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/witch_d.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_d.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_d-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anya Taylor-Joy as Thomasin in The Witch; Courtesy A24 Films.\u003c/figcaption>\u003c/figure>\n\u003cp>What happens to the stolen child, the family and Thomasin? The ending of \u003cem>The Witch\u003c/em> is immensely spoilable. Eggers was willing to comment in a general way about what informed the closing scenes: “I am very committed to it [the ending] because religion, mythology, folk tales, the occult, these are more important than film to me and this is what I spend my time occupying my mind with. If we are not getting into things like that, I’m not particularly interested otherwise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The occult in this movie can be defined as “beyond the range of ordinary knowledge or experience.” Whether or not you suspend your disbelief will depend entirely upon your inclination and desire to make out a witch’s cloak, floating in a dark and primitive night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://a24films.com/films/witch/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Witch\u003c/em>\u003c/a> is one of those rare films that makes beautiful use of the color black. Director Robert Eggers and his cinematographer Jarin Blaschke capture its fluidity and menace. All the neutral palettes at the center of the frame are beholden to the recurring darkness, and everything else the eye cannot see.\u003c/p>\n\u003cp>Costume and production designs reflect the wintry tones of hemlock and white pine trees shivering in the background. And the lighting — both interior and exterior — is cloaked in a state of perpetual dusk. Each scene holds an immanence: when the burnt out candles exude only smoke, something unknown and invisible will arrive by nightfall.\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/iQXmlf3Sefg'\n title='//www.youtube.com/embed/iQXmlf3Sefg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The opening scene is set in a court of law. A man on trial for his religious views is seen from behind: we can hear his impassioned testimony, but his face is hidden. The silent camera speaks volumes in this establishing shot. The point of view belongs to the man’s wife Katherine and their children as they watch uneasily from the gallery. After the verdict is rendered, he is cast out of the community. Without questioning his authority, his family follows him into the wilderness. Welcome to the American colonies circa 1630 and its entrenched patriarchy.\u003c/p>\n\u003cfigure id=\"attachment_11338425\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11338425\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/witch_c.jpg\" alt=\"Dinner table prayer in The Witch; Courtesy A24 Films.\" width=\"600\" height=\"362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_c.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_c-400x241.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dinner table prayer in The Witch; Courtesy A24 Films.\u003c/figcaption>\u003c/figure>\n\u003cp>Eggers, recently in town for an Alamo Drafthouse screening of \u003ci>The Witch\u003c/i>, his first feature film, explained the staunch behavior of William, the father, “Basically there were people like \u003ca href=\"http://www.history.com/topics/roger-williams\" target=\"_blank\" rel=\"noopener\">Roger Williams\u003c/a> who came over here. He was such an austere Puritan that he kept getting kicked out of these communities because he was holier than them. William is the kind of guy who would say you’ve got the cross of St. George on the flag. That’s idol worship. That’s blasphemy. Take that down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every unfortunate plot turn that follows stems from William’s severe religiosity and his inability to compromise his beliefs, even if it means imperiling his family by moving them outside of the colony’s high, protective walls. While zealots like William still populate America today, I asked Eggers, who was born and raised in New Hampshire, about the challenges of creating a believable film set in 17th-century New England. “This has to be my childhood memory of the day that I talked to my father in the corn field and what he smelled like and what the mist was like on the corn. That level of specificity needs to go into it. It’s not enough for the design to be good and the shot to be good and the light to be natural light or whatever. If we’re not treating that material with that kind of personal connection, then we can’t hope to transport an audience,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11338426\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11338426\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/witch_b.jpg\" alt=\"Hemlock and pine tress in The Witch; Courtesy A24 Films.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_b.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_b-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hemlock and pine tress in The Witch; Courtesy A24 Films.\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to drawing from his sense memories, Eggers wrote and researched the era for several years before going into production. After filming the video short \u003cem>Hansel and Gretel\u003c/em> in 2007, he decided to explore the origin myths surrounding what it meant to be a witch. “Today an evil witch is like a plastic Halloween decoration that doesn’t mean much to anyone. In the 17th century, an evil witch was a real primal, horrible, terrifying thing that every single person knew exactly what it meant,” he says.\u003c/p>\n\u003cp>What it means in the first dozen minutes of the film is the disappearance of William and Katherine’s newborn son. Eggers felt audiences needed to understand the stakes right away. “This is what a witch is capable of,” he says.\u003c/p>\n\u003cp>Because their eldest daughter Thomasin (Anya Taylor-Joy) is minding the baby when he goes kidnapped, the family begins to suspect her of wrongdoing. \u003cem>The Witch\u003c/em> immediately creates suspense; we, the audience, know Thomasin is not to blame.\u003c/p>\n\u003cp>\u003ci>The Witch\u003c/i> should establish Taylor-Joy as an actress to watch the same way \u003cem>Winter’s Bone\u003c/em> (2010) did for Jennifer Lawrence. Eggers’s lens effectively annunciates her. “You want to know what she is thinking but you don’t. She can be telling you what she’s thinking and you’re still trying to get in there, which was really crucial for the character. She delivered the dialogue with the intonations that I heard as I wrote it,” he says.\u003c/p>\n\u003cp>He may have found his muse in Taylor-Joy but she isn’t just a source of inspiration. The actress creates her character before our eyes. In Thomasin, she instinctually resists the family’s scapegoating by slowly tapping into a set of inner resources. The actress fuses the uncertainty of Thomasin’s life at the forest’s edge with her own adolescent vulnerability.\u003c/p>\n\u003cfigure id=\"attachment_11338427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11338427 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/witch_d.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_d.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_d-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/witch_d-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anya Taylor-Joy as Thomasin in The Witch; Courtesy A24 Films.\u003c/figcaption>\u003c/figure>\n\u003cp>What happens to the stolen child, the family and Thomasin? The ending of \u003cem>The Witch\u003c/em> is immensely spoilable. Eggers was willing to comment in a general way about what informed the closing scenes: “I am very committed to it [the ending] because religion, mythology, folk tales, the occult, these are more important than film to me and this is what I spend my time occupying my mind with. If we are not getting into things like that, I’m not particularly interested otherwise.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The occult in this movie can be defined as “beyond the range of ordinary knowledge or experience.” Whether or not you suspend your disbelief will depend entirely upon your inclination and desire to make out a witch’s cloak, floating in a dark and primitive night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Danish entry in the foreign language Oscar sweepstakes, \u003cem>A War\u003c/em>, begins in Afghanistan, deep in Taliban territory. A Danish patrol is walking single file across a field. Each man steps where the previous man stepped … alas, to no avail. A land mine explodes, killing the baby-faced last soldier in the line.\u003c/p>\n\u003cp>Back at the squad’s fortified HQ, Claus, their 30-something commanding officer, decides he will not send his men out again without being there himself, a decision that will later have repercussions. He’s a decent man — a father, a caring officer, proud of the role his soldiers play in protecting civilians. This war, though, turns such considerations on their heads. Help an Afghan family, and the Taliban is apt to target that family, which is how Claus later finds himself with his squad in an ambush.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MyygZlPuoFQ\u003c/p>\n\u003cp>One of his men — a soldier who was traumatized in the first incident to the point that Claus almost had to send him home — is hit and will die without assistance. The rest are pinned down, unable to tell where shots are coming from. Claus calls in an airstrike on a nearby compound, not quite sure that that’s where the shots are coming from, but it turns out he was right. His action saves his men.\u003c/p>\n\u003cp>But a few days later, he is called in for an inquiry. There were civilians in the compound, too. After a debriefing, he is sent back to his wife and kids in Copenhagen, charged with war crimes. And the complications are just beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first half of \u003cem>A War\u003c/em> was shot in Turkey, and nearly all the roles in that war-zone setting were cast with nonactors — Afghan refugees, Danish ex-soldiers — which helped filmmaker Tobias Lindholm achieve a documentary-like realism there. In the scenes at Claus’ home and in the courtroom, the director relies more on leading man Pilou Asbaek, who has a solemn, brooding manner that is likely to serve him well in a substantial role he has landed in the coming season of \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>Lindholm has said in interviews that just as films about the Vietnam War gave the American public a way to process a national trauma, he hopes his film can do that for a Danish public that has been sending troops to Iraq and Afghanistan for much of the past decade and a half. And indeed, he has freighted \u003cem>A War\u003c/em> with many of the same moral quandaries, impossible choices, terrible consequences.\u003c/p>\n\u003cp>In Afghanistan, Claus’ soldiers are tense, their foothold insecure, the civilians they’re protecting anxious. He returns to find his home tense, his children insecure, his wife anxious. If what he did in the war zone to save his men was criminal, what should he do at home?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the courtroom, with his attorney staring down the prosecutor, the battle lines seem so clear. In his own mind, they’re less clear. What do you do when there’s no right move? \u003cem>A War\u003c/em> brings that question home.\u003c/p>\n\n",
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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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"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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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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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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},
"fresh-air": {
"id": "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": {
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"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"
},
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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.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"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
},
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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/",
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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