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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“What the hell did I do? Killed them all, of course.”\u003c/p>\n\u003cp>These words, muttered by New York real estate heir and suspected serial killer Robert Durst in the finale of HBO’s documentary series \u003cem>The Jinx\u003c/em>, sent chills down the spines of viewers and put Durst back in the spotlight.\u003c/p>\n\u003cp>Now Durst, 72, could spend the next seven years in prison — but not for murder. He pleaded guilty to a weapons charge Wednesday in New Orleans and accepted a sentence of seven years and one month in prison. Durst is expected to go on trial on murder charges this summer in California.\u003c/p>\n\u003cp>Durst, whose life was the subject of the HBO series, pleaded guilty \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/15/393168862/robert-durst-subject-of-hbos-the-jinx-arrested-in-new-orleans\">nearly a year after he was arrested\u003c/a> in New Orleans for illegally carrying a .38-caliber revolver. U.S. District Judge Kurt Engelhardt said he would provisionally accept the plea and, The Associated Press reports, “make a final decision after he receives a pre-sentencing report expected in two weeks.” The maximum penalty Durst could face is 10 years in prison and a $250,000 fine.\u003c/p>\n\u003cp>As NPR has reported, Durst has waived extradition to Los Angeles to stand trial for the 2000 murder of his friend Susan Berman. Durst is suspected of killing her because he feared Berman could connect him to the disappearance of his first wife in 1982.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Durst’s longtime lawyer — who successfully defended Durst in 2003 after his client admitted killing and dismembering a neighbor in self-defense — says the California case will be challenging.\u003c/p>\n\u003cp>“I’ve had a lot of hard cases. I enjoy hard cases. But, yes, this one is tough,” \u003ca href=\"http://www.npr.org/2016/02/03/465321348/robert-dursts-attorney-heirs-latest-legal-troubles-are-tough\">attorney Dick DeGuerin said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jinx\u003c/em> brought renewed scrutiny to the deaths in which Durst was implicated. But \u003ca href=\"http://www.nytimes.com/2015/03/16/nyregion/robert-durst-subject-of-hbo-documentary-on-unsolved-killings-is-arrested.html?_r=0\">The New York Times reports\u003c/a> that more than two years have passed between when the filmmakers interviewed Durst and when they realized Durst’s private muttering was caught on tape, and that it’s unclear whether it will be admissible in court. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robert+Durst+Pleads+Guilty+To+Gun+Charge%2C+Accepts+7-Year+Sentence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The former district attorney who declined a decade ago to bring sex-crime charges against Bill Cosby testified Tuesday that his decision binds his successors and forever closes the door on prosecuting the comedian.\u003c/p>\n\u003cp>Former Montgomery County District Attorney Bruce Castor took the stand as part of a bid by Cosby’s lawyers to get the case against the TV star thrown out because of what they say is a non-prosecution agreement from Castor.\u003c/p>\n\u003cp>The current district attorney has said there is no record of any such agreement.\u003c/p>\n\u003cp>Cosby, 78, was arrested and charged in December with drugging and violating former Temple University athletic department employee Andrea Constand at his suburban Philadelphia mansion in 2004. He could get up to 10 years in prison if convicted.\u003c/p>\n\u003cp>Castor said Tuesday that he believed Constand was violated but that proving it would have been problematic because of serious flaws in the case, and so he declined to bring charges in 2005.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He said that he made the decision as a representative of the state — as “the sovereign,” as he put it, over and over — and that it would last in perpetuity.\u003c/p>\n\u003cp>“For all time, yes,” Castor said when pressed.\u003c/p>\n\u003cp>And he suggested that Cosby and his lawyer at the time had the same understanding, because Cosby later agreed to testify without invoking his Fifth Amendment right against self-incrimination in a lawsuit brought against him by Constand.\u003c/p>\n\u003cp>“Cosby would’ve had to have been nuts to say those things if there was any chance he could’ve been prosecuted,” Castor said, referring to the damaging testimony unsealed last summer.\u003c/p>\n\u003cp>Castor said he hoped, correctly, at the time that the decision not to prosecute would free the comedian to testify in the lawsuit and help Constand win damages. She eventually settled for an undisclosed amount.\u003c/p>\n\u003cp>The former DA said he “wanted there to be some measure of justice” for Constand, explaining, “I thought making Mr. Cosby pay money was the best I was going to be able to set the stage for.”\u003c/p>\n\u003cp>He added: “I was hopeful that I had made Ms. Constand a millionaire.”\u003c/p>\n\u003cp>He said he relayed word to Cosby’s then-attorney, Walter Phillips, that Cosby would not be charged. However, Castor said the two lawyers did not have an actual agreement that Cosby would testify in exchange for not being prosecuted.\u003c/p>\n\u003cp>Phillips has since died.\u003c/p>\n\u003cp>Kevin Steele, the newly elected DA who is pursuing the case, has said Cosby would need an immunity agreement in writing to get the case thrown out. He has said he has no evidence one exists.\u003c/p>\n\u003cp>It was not immediately clear when Common Pleas Judge Steven T. O’Neill would rule.\u003c/p>\n\u003cp>While Castor was called as witness by Cosby’s side, the former DA said he is rooting for the prosecution.\u003c/p>\n\u003cp>“I’m not on your team here,” Castor told Cosby lawyer Brian McMonagle. “I want them to win.”\u003c/p>\n\u003cp>In a barrage of allegations that have destroyed Cosby’s image as America’s Dad, dozens of women have accused the former TV star of drugging and sexually assaulting them since the 1960s. But this is the only case in which he has been charged.\u003c/p>\n\u003cp>The unsealing of the testimony from Constand’s lawsuit prompted Castor’s successors to reopen the case and ultimately charge Cosby.\u003c/p>\n\u003cp>Cosby admitted in the deposition that he had affairs with young models and actresses, that he obtained quaaludes to give to women he wanted to have sex with and that he gave Constand three pills at his home. He said he reached into her pants but insisted it was consensual.\u003c/p>\n\u003cp>Castor defended his decision not to bring charges, testifying that he saw Constand’s year-long delay in reporting the allegations, inconsistencies in her statements and her contact with a lawyer before going to police as problematic.\u003c/p>\n\u003cp>Castor said Constand’s delay was of “enormous significance” in his consideration of the case. He said it thwarted his ability to test her hair or fingernails for evidence she was drugged.\u003c/p>\n\u003cp>Still, Castor said, he investigated the case thoroughly because he wanted to show authorities in Constand’s native Canada that celebrities don’t get preferential treatment in America.\u003c/p>\n\u003cp>Anne Poulin, a law professor at Villanova University, said the defense has a high bar to meet to get the case thrown out early on. But “if they can win without this ever going to trial, then they’ve done their client a big service.”\u003c/p>\n\u003cp>In related news, a Los Angeles judge ordered Cosby to attend another deposition in a lawsuit filed by a woman who says the comic forced her to perform a sex act on him at the Playboy Mansion around 1974, when she was 15.\u003c/p>\n\u003cp>Also Tuesday, model Chloe Goins dropped a lawsuit accusing Cosby of drugging and sexually assaulting her at the Playboy Mansion in 2008. Goins gave no explanation.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Michael R. Sisak and Errin Haines Whack contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"description": "The former district attorney who declined a decade ago to bring sex-crime charges against Bill Cosby testified Tuesday that his decision binds his successors and forever closes the door on prosecuting the comedian. Former Montgomery County District Attorney Bruce Castor took the stand as part of a bid by Cosby's lawyers to get the case against the TV star thrown out because of what they say is a non-prosecution agreement from Castor. The current district attorney has said there is no record of any such agreement. Cosby, 78, was arrested and charged in December with drugging and violating former Temple",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The former district attorney who declined a decade ago to bring sex-crime charges against Bill Cosby testified Tuesday that his decision binds his successors and forever closes the door on prosecuting the comedian.\u003c/p>\n\u003cp>Former Montgomery County District Attorney Bruce Castor took the stand as part of a bid by Cosby’s lawyers to get the case against the TV star thrown out because of what they say is a non-prosecution agreement from Castor.\u003c/p>\n\u003cp>The current district attorney has said there is no record of any such agreement.\u003c/p>\n\u003cp>Cosby, 78, was arrested and charged in December with drugging and violating former Temple University athletic department employee Andrea Constand at his suburban Philadelphia mansion in 2004. He could get up to 10 years in prison if convicted.\u003c/p>\n\u003cp>Castor said Tuesday that he believed Constand was violated but that proving it would have been problematic because of serious flaws in the case, and so he declined to bring charges in 2005.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He said that he made the decision as a representative of the state — as “the sovereign,” as he put it, over and over — and that it would last in perpetuity.\u003c/p>\n\u003cp>“For all time, yes,” Castor said when pressed.\u003c/p>\n\u003cp>And he suggested that Cosby and his lawyer at the time had the same understanding, because Cosby later agreed to testify without invoking his Fifth Amendment right against self-incrimination in a lawsuit brought against him by Constand.\u003c/p>\n\u003cp>“Cosby would’ve had to have been nuts to say those things if there was any chance he could’ve been prosecuted,” Castor said, referring to the damaging testimony unsealed last summer.\u003c/p>\n\u003cp>Castor said he hoped, correctly, at the time that the decision not to prosecute would free the comedian to testify in the lawsuit and help Constand win damages. She eventually settled for an undisclosed amount.\u003c/p>\n\u003cp>The former DA said he “wanted there to be some measure of justice” for Constand, explaining, “I thought making Mr. Cosby pay money was the best I was going to be able to set the stage for.”\u003c/p>\n\u003cp>He added: “I was hopeful that I had made Ms. Constand a millionaire.”\u003c/p>\n\u003cp>He said he relayed word to Cosby’s then-attorney, Walter Phillips, that Cosby would not be charged. However, Castor said the two lawyers did not have an actual agreement that Cosby would testify in exchange for not being prosecuted.\u003c/p>\n\u003cp>Phillips has since died.\u003c/p>\n\u003cp>Kevin Steele, the newly elected DA who is pursuing the case, has said Cosby would need an immunity agreement in writing to get the case thrown out. He has said he has no evidence one exists.\u003c/p>\n\u003cp>It was not immediately clear when Common Pleas Judge Steven T. O’Neill would rule.\u003c/p>\n\u003cp>While Castor was called as witness by Cosby’s side, the former DA said he is rooting for the prosecution.\u003c/p>\n\u003cp>“I’m not on your team here,” Castor told Cosby lawyer Brian McMonagle. “I want them to win.”\u003c/p>\n\u003cp>In a barrage of allegations that have destroyed Cosby’s image as America’s Dad, dozens of women have accused the former TV star of drugging and sexually assaulting them since the 1960s. But this is the only case in which he has been charged.\u003c/p>\n\u003cp>The unsealing of the testimony from Constand’s lawsuit prompted Castor’s successors to reopen the case and ultimately charge Cosby.\u003c/p>\n\u003cp>Cosby admitted in the deposition that he had affairs with young models and actresses, that he obtained quaaludes to give to women he wanted to have sex with and that he gave Constand three pills at his home. He said he reached into her pants but insisted it was consensual.\u003c/p>\n\u003cp>Castor defended his decision not to bring charges, testifying that he saw Constand’s year-long delay in reporting the allegations, inconsistencies in her statements and her contact with a lawyer before going to police as problematic.\u003c/p>\n\u003cp>Castor said Constand’s delay was of “enormous significance” in his consideration of the case. He said it thwarted his ability to test her hair or fingernails for evidence she was drugged.\u003c/p>\n\u003cp>Still, Castor said, he investigated the case thoroughly because he wanted to show authorities in Constand’s native Canada that celebrities don’t get preferential treatment in America.\u003c/p>\n\u003cp>Anne Poulin, a law professor at Villanova University, said the defense has a high bar to meet to get the case thrown out early on. But “if they can win without this ever going to trial, then they’ve done their client a big service.”\u003c/p>\n\u003cp>In related news, a Los Angeles judge ordered Cosby to attend another deposition in a lawsuit filed by a woman who says the comic forced her to perform a sex act on him at the Playboy Mansion around 1974, when she was 15.\u003c/p>\n\u003cp>Also Tuesday, model Chloe Goins dropped a lawsuit accusing Cosby of drugging and sexually assaulting her at the Playboy Mansion in 2008. Goins gave no explanation.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Michael R. Sisak and Errin Haines Whack contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Meet Breeda Wool. A prolific actress making the indie circuit in short and feature films, she also stars as the ground-breaking supporting role of Faith (\u003ca target=\"_blank\" href=\"http://www.usatoday.com/story/life/entertainthis/2016/01/21/unreal-faith-lifetime/79102946/\" rel=\"noopener\">who is soon to have her own spin-off\u003c/a>) on \u003cem>UnReal, \u003c/em>Lifetime’s original series that explores what it’s like to be behind the camera \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/02/getting-real-with-breeda-wool-from-unreal-an-exclusive-interview/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/02/getting-real-with-breeda-wool-from-unreal-an-exclusive-interview/\" target=\"_blank\" title=\"Getting Real with Breeda Wool from UnReal – An Exclusive Interview\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>Meet Breeda Wool. A prolific actress making the indie circuit in short and feature films, she also stars as the ground-breaking supporting role of Faith (\u003ca target=\"_blank\" href=\"http://www.usatoday.com/story/life/entertainthis/2016/01/21/unreal-faith-lifetime/79102946/\" rel=\"noopener\">who is soon to have her own spin-off\u003c/a>) on \u003cem>UnReal, \u003c/em>Lifetime's original series that explores what it's like to be behind the camera \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2016/02/02/getting-real-with-breeda-wool-from-unreal-an-exclusive-interview/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cp>About 40 years ago, when she was 24, Consuelo Hermosillo had an emergency cesarean section at Los Angeles County-USC Medical Center. In the new documentary, “No Más Bebés,” she recalls asking her doctor what type of birth control she should use going forward.\u003c/p>\n\u003cp>“He goes, ‘You don’t need anything. We cut your tubes,’ ” Hermosillo says in the film. “And I said, ‘Why?’ And he said, ‘Well you signed for it.’ And I said, ‘Me?’ ”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nomasbebesmovie.com/\">“No Más Bebés (No More Babies),”\u003c/a> which aired on PBS Monday night, tells the story of how 10 immigrant Mexican women, Hermosillo included, sued Los Angeles County doctors, the state and the U.S. government in 1975 for allegedly violating their civil rights. The women’s cases were similar. Each had an emergency cesarean section and each said she was either unaware that she signed for a tubal ligation or was told by a medical professional that not signing for one could mean death for her and her unborn child.\u003c/p>\n\u003cp>You can \u003ca href=\"http://www.pbs.org/independentlens/videos/no-mas-bebes/\" target=\"_blank\" rel=\"noopener\">watch the full “No Más Bebés” film here\u003c/a>.\u003c/p>\n\u003cp>It examines how the lawsuit, \u003cem>Madrigal v. Quilligan\u003c/em>, came to be, how questions of informed consent — or lack thereof — and coercion played into the case, and how the collision of various societal issues resulted in stories like Hermosillo’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aseQlmKg25U\u003c/p>\n\u003cp>“When you’re a filmmaker, the easiest thing to do is make a film about the good guys and the bad guys, the heroes and the villains,” says director \u003ca href=\"http://www.asianam.ucla.edu/people/renee-tajima-pe%C3%B1a\">Renee Tajima-Peña\u003c/a>. She says she and co-producer \u003ca href=\"http://itvs.org/films/no-mas-bebes/filmmaker\">Virginia Espino\u003c/a>, a historian who wrote her dissertation on the case, wanted to tell a multilayered story, one that revealed how even the best intentions could do harm.\u003c/p>\n\u003cp>Tajima-Peña and Espino explore the roles played by federally funded family-planning programs; a growing popular movement to curb population growth that attracted both environmentalists and anti-immigration proponents; doctors fresh out of medical school working in under-resourced maternity wards; cultural misunderstandings; and the popular belief that poor women who need public assistance should abstain from having children.\u003c/p>\n\u003cp>Taken together, these factors created what Tajima-Peña calls a “perfect storm” resulting in the sterilization of thousands of vulnerable women across the country in the late ’60s and early 1970s. She and Espino say their goal was to document a history that continues to repeat itself — they point to \u003ca href=\"http://cironline.org/reports/female-inmates-sterilized-california-prisons-without-approval-4917\">nearly 150 women sterilized in California prisons between 2006 and 2010\u003c/a> as the most recent example.\u003c/p>\n\u003cp>In telling this history, the film highlights the role played by the Family Planning and Population Research Act, which Congress passed in 1970, allocating millions for family-planning purposes. That money went to fund contraceptives, education, research and training. “You’ve got money for family planning programs, which were good programs and provided contraceptives for women who couldn’t afford it,” says Tajima-Peña. Congress also lifted a ban on federal funding for sterilization, so hospitals that provided the indigent with medical care, like Los Angeles County General Hospital, could apply for government money to perform tubal ligations.\u003c/p>\n\u003cp>Meanwhile, lobbying efforts in Washington, fueled by a fear of overpopulation gripping the nation, led to yet more funding for family planning programs. Inspired by the popularity of biologist Paul Ehrlich’s best-selling 1968 book, “\u003ca href=\"http://www.nytimes.com/2015/06/01/us/the-unrealized-horrors-of-population-explosion.html\">The Population Bomb\u003c/a>,” which predicted that at some point in the 1980s, overpopulation would make it impossible for the planet to support humanity, members of the “zero population movement” worked to convince the public that having children was a very bad idea. Some went so far as promoting the sterilization of women deemed to have had too many. (They also called for a dramatic reduction to immigration.)\u003c/p>\n\u003cp>[contextly_sidebar id=”Akm8so5PCpQmztRAsKC6euza1J5VHAba”]\u003c/p>\n\u003cp>Then, there were divisions within the feminist movement on how sterilization fit into the bigger picture of reproductive rights. Mainstream white feminists marched for “the right to choose,” including unfettered access to sterilizations, contraception and abortions. Feminists of color also called for abortion rights and easy access to contraception, but broke with white feminists on the issue of sterilization, arguing that for women of color, sterilization was not always a matter of choice. They called for waiting periods before tubal ligation procedures, and Latina activists called for Spanish-language consent forms.\u003c/p>\n\u003cp>In “No Más Bebés,” California politician \u003ca href=\"http://www.latimes.com/la-oe-morrison-new29-2009aug29-column.html\">Gloria Molina\u003c/a>, who was active in the Chicana feminist movement in the 1970s, says the idea of a waiting period was “totally offensive” to white feminists, who, she says, pushed for sterilization upon demand. “They weren’t taking into account that if you were Spanish-speaking, and if you don’t speak English, you were being denied a right, totally,” Molina says in the film.\u003c/p>\n\u003cp>And then there was the long-held stance, still popular today, that poor women should not have children they can’t afford to support, especially poor women of color. For decades, \u003ca href=\"https://www.uic.edu/orgs/cwluherstory/CWLUArchive/puertorico.html\">Puerto Rican women had been subjected to sterilizations at various points\u003c/a> as a way to combat astronomical unemployment and poverty on the island; a 1965 survey found that a third of Puerto Rican mothers living on the island at the time had been sterilized. \u003ca href=\"https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/american_indian_quarterly/v024/24.3lawrence.html\">Native American women\u003c/a> were sterilized at the hands of the Indian Health Service in the 1970s. Poor African-American women on government assistance were also sterilized across the country during that time period. \u003ca href=\"https://www.splcenter.org/seeking-justice/case-docket/relf-v-weinberger\">A particularly damning case\u003c/a>, brought two years before \u003cem>Madrigal v. Quilligan\u003c/em>, involved two black sisters sterilized at ages 14 and 12 in Alabama.\u003c/p>\n\u003cp>So, to recap: You had a surge of federal money for sterilizations, mainstream feminists calling for easier access to them, a fear that overpopulation would soon destroy the planet and the fear that poor women were burdening the country with children whom taxpayers would need to feed, clothe and educate. This nexus of events — and the consequences, intended and unintended, that followed — is the knot that “No Más Bebés” tries to untie.\u003c/p>\n\u003cp>“Why were they doing it?” Consuelo Hermosillo, one of the 10 plaintiffs in \u003cem>Madrigal v. Quilligan\u003c/em>, asks on camera at one point in the film, nearly 40 years after her sterilization at L.A. County General. “I always keep these questions with me, and I never get those answers,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit http://www.npr.org/\u003c/p>\n\n",
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"title": "Film Portrays a 'Perfect Storm' That Led to Unwanted Sterilizations for Many Latinas | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About 40 years ago, when she was 24, Consuelo Hermosillo had an emergency cesarean section at Los Angeles County-USC Medical Center. In the new documentary, “No Más Bebés,” she recalls asking her doctor what type of birth control she should use going forward.\u003c/p>\n\u003cp>“He goes, ‘You don’t need anything. We cut your tubes,’ ” Hermosillo says in the film. “And I said, ‘Why?’ And he said, ‘Well you signed for it.’ And I said, ‘Me?’ ”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nomasbebesmovie.com/\">“No Más Bebés (No More Babies),”\u003c/a> which aired on PBS Monday night, tells the story of how 10 immigrant Mexican women, Hermosillo included, sued Los Angeles County doctors, the state and the U.S. government in 1975 for allegedly violating their civil rights. The women’s cases were similar. Each had an emergency cesarean section and each said she was either unaware that she signed for a tubal ligation or was told by a medical professional that not signing for one could mean death for her and her unborn child.\u003c/p>\n\u003cp>You can \u003ca href=\"http://www.pbs.org/independentlens/videos/no-mas-bebes/\" target=\"_blank\" rel=\"noopener\">watch the full “No Más Bebés” film here\u003c/a>.\u003c/p>\n\u003cp>It examines how the lawsuit, \u003cem>Madrigal v. Quilligan\u003c/em>, came to be, how questions of informed consent — or lack thereof — and coercion played into the case, and how the collision of various societal issues resulted in stories like Hermosillo’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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/aseQlmKg25U'\n title='//www.youtube.com/embed/aseQlmKg25U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When you’re a filmmaker, the easiest thing to do is make a film about the good guys and the bad guys, the heroes and the villains,” says director \u003ca href=\"http://www.asianam.ucla.edu/people/renee-tajima-pe%C3%B1a\">Renee Tajima-Peña\u003c/a>. She says she and co-producer \u003ca href=\"http://itvs.org/films/no-mas-bebes/filmmaker\">Virginia Espino\u003c/a>, a historian who wrote her dissertation on the case, wanted to tell a multilayered story, one that revealed how even the best intentions could do harm.\u003c/p>\n\u003cp>Tajima-Peña and Espino explore the roles played by federally funded family-planning programs; a growing popular movement to curb population growth that attracted both environmentalists and anti-immigration proponents; doctors fresh out of medical school working in under-resourced maternity wards; cultural misunderstandings; and the popular belief that poor women who need public assistance should abstain from having children.\u003c/p>\n\u003cp>Taken together, these factors created what Tajima-Peña calls a “perfect storm” resulting in the sterilization of thousands of vulnerable women across the country in the late ’60s and early 1970s. She and Espino say their goal was to document a history that continues to repeat itself — they point to \u003ca href=\"http://cironline.org/reports/female-inmates-sterilized-california-prisons-without-approval-4917\">nearly 150 women sterilized in California prisons between 2006 and 2010\u003c/a> as the most recent example.\u003c/p>\n\u003cp>In telling this history, the film highlights the role played by the Family Planning and Population Research Act, which Congress passed in 1970, allocating millions for family-planning purposes. That money went to fund contraceptives, education, research and training. “You’ve got money for family planning programs, which were good programs and provided contraceptives for women who couldn’t afford it,” says Tajima-Peña. Congress also lifted a ban on federal funding for sterilization, so hospitals that provided the indigent with medical care, like Los Angeles County General Hospital, could apply for government money to perform tubal ligations.\u003c/p>\n\u003cp>Meanwhile, lobbying efforts in Washington, fueled by a fear of overpopulation gripping the nation, led to yet more funding for family planning programs. Inspired by the popularity of biologist Paul Ehrlich’s best-selling 1968 book, “\u003ca href=\"http://www.nytimes.com/2015/06/01/us/the-unrealized-horrors-of-population-explosion.html\">The Population Bomb\u003c/a>,” which predicted that at some point in the 1980s, overpopulation would make it impossible for the planet to support humanity, members of the “zero population movement” worked to convince the public that having children was a very bad idea. Some went so far as promoting the sterilization of women deemed to have had too many. (They also called for a dramatic reduction to immigration.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Then, there were divisions within the feminist movement on how sterilization fit into the bigger picture of reproductive rights. Mainstream white feminists marched for “the right to choose,” including unfettered access to sterilizations, contraception and abortions. Feminists of color also called for abortion rights and easy access to contraception, but broke with white feminists on the issue of sterilization, arguing that for women of color, sterilization was not always a matter of choice. They called for waiting periods before tubal ligation procedures, and Latina activists called for Spanish-language consent forms.\u003c/p>\n\u003cp>In “No Más Bebés,” California politician \u003ca href=\"http://www.latimes.com/la-oe-morrison-new29-2009aug29-column.html\">Gloria Molina\u003c/a>, who was active in the Chicana feminist movement in the 1970s, says the idea of a waiting period was “totally offensive” to white feminists, who, she says, pushed for sterilization upon demand. “They weren’t taking into account that if you were Spanish-speaking, and if you don’t speak English, you were being denied a right, totally,” Molina says in the film.\u003c/p>\n\u003cp>And then there was the long-held stance, still popular today, that poor women should not have children they can’t afford to support, especially poor women of color. For decades, \u003ca href=\"https://www.uic.edu/orgs/cwluherstory/CWLUArchive/puertorico.html\">Puerto Rican women had been subjected to sterilizations at various points\u003c/a> as a way to combat astronomical unemployment and poverty on the island; a 1965 survey found that a third of Puerto Rican mothers living on the island at the time had been sterilized. \u003ca href=\"https://muse.jhu.edu/login?auth=0&type=summary&url=/journals/american_indian_quarterly/v024/24.3lawrence.html\">Native American women\u003c/a> were sterilized at the hands of the Indian Health Service in the 1970s. Poor African-American women on government assistance were also sterilized across the country during that time period. \u003ca href=\"https://www.splcenter.org/seeking-justice/case-docket/relf-v-weinberger\">A particularly damning case\u003c/a>, brought two years before \u003cem>Madrigal v. Quilligan\u003c/em>, involved two black sisters sterilized at ages 14 and 12 in Alabama.\u003c/p>\n\u003cp>So, to recap: You had a surge of federal money for sterilizations, mainstream feminists calling for easier access to them, a fear that overpopulation would soon destroy the planet and the fear that poor women were burdening the country with children whom taxpayers would need to feed, clothe and educate. This nexus of events — and the consequences, intended and unintended, that followed — is the knot that “No Más Bebés” tries to untie.\u003c/p>\n\u003cp>“Why were they doing it?” Consuelo Hermosillo, one of the 10 plaintiffs in \u003cem>Madrigal v. Quilligan\u003c/em>, asks on camera at one point in the film, nearly 40 years after her sterilization at L.A. County General. “I always keep these questions with me, and I never get those answers,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Five to Watch: Love and Let Love",
"headTitle": "Five to Watch: Love and Let Love | KQED",
"content": "\u003cp>The tension is nearly unbearable as we jump into February. Will host Chris Rock come out in whiteface when the curtain rises on the Academy Awards ceremony on Sunday, Feb. 28? Which presenters or winners — black, white, Asian or Hispanic — will acknowledge Black Lives Matter instead of Boycott Oscar? Who will be cited in the most jokes: Jennifer Lawrence, Donald Trump, Samuel L. Jackson or Han Solo?\u003c/p>\n\u003cp>Or perhaps, given Valentine’s Day on the horizon, your most pressing question is, “Will (s)he or won’t (s)he?” Either way, you’ll find provocative answers — and more intriguing questions — in the dark at a nearby theater.\u003c/p>\n\u003cfigure id=\"attachment_11291121\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kirikou400.jpg\" alt=\"'Kirikou and the Sorceress'\" width=\"400\" height=\"241\" class=\"size-full wp-image-11291121\">\u003cfigcaption class=\"wp-caption-text\">‘Kirikou and the Sorceress’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.bampfa.berkeley.edu/program/african-film-festival-2016\" target=\"_blank\" rel=\"noopener\">African Film Festival 2016\u003c/a>\u003c/h3>\n\u003ch5>Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nFeb. 11–March 19\u003c/h5>\n\u003cp>The Pacific Film Archive and Berkeley Art Museum are in the midst of inaugurating their brand-new home in downtown Berkeley with a slew of special events. The temptations include Ingmar Bergman’s \u003cem>The Seventh Seal\u003c/em> (Feb. 3) and Douglas Sirk’s \u003cem>The Tarnished Angels\u003c/em> (Feb. 7), and visits by New York documentary master Alan Berliner (Feb. 10) and Winnipeg silent-film obsessive Guy Maddin (Feb. 12-14). The African Film Festival (Feb. 11-March 19) boasts an especially strong lineup this year, mixing classics like Ousmane Sembene’s \u003cem>Black Girl\u003c/em> from 1966 and the 1998 animated children’s film \u003cem>Kirikou and the Sorceress\u003c/em> with the kinetic recent Ivory Coast thriller \u003cem>Run\u003c/em>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291122\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Bride400.jpg\" alt=\"James Whalen, 'Bride of Frankenstein,' 1935.\" width=\"400\" height=\"299\" class=\"size-full wp-image-11291122\">\u003cfigcaption class=\"wp-caption-text\">James Whalen, ‘Bride of Frankenstein,’ 1935. \u003ccite>(Courtesy of Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.ybca.org/gothic-cinema\" target=\"_blank\" rel=\"noopener\">The Bride of Frankenstein\u003c/a>\u003c/h3>\n\u003ch5>Yerba Buena Center for the Arts, San Francisco\u003cbr>\nFeb. 13 and 14\u003c/h5>\n\u003cp>Speaking of classics, Yerba Buena Center for the Arts curator Joel Shepard has booked a beauty for Valentine’s weekend. \u003cem>The Bride of Frankenstein\u003c/em> (Feb. 13 and 14) is one of the great sequels in movie history thanks to the unexpectedly moving love story at its center. (Beauty and the beast, indeed.) James Whale’s moody 1935 film is one of 13 delicious nibbles in \u003cem>Gothic Cinema\u003c/em>, a candy box of eerie, atmospheric tales of psychological obsession screening from Feb. 11 through April 10.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291125\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Brodie400.jpg\" alt=\"Maggie Smith in 'The Prime of Miss Jean Brodie,' 1969.\" width=\"400\" height=\"267\" class=\"size-full wp-image-11291125\">\u003cfigcaption class=\"wp-caption-text\">Maggie Smith in ‘The Prime of Miss Jean Brodie,’ 1969. \u003ccite>(Courtesy of the Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://mostlybritish.org/\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a>\u003c/h3>\n\u003ch5>Vogue Theatre, San Francisco\u003cbr>\nFeb. 18-25\u003c/h5>\n\u003cp>\u003cem>San Francisco Chronicle\u003c/em> film writer Ruthe Stein’s annual survey of recent films from the British Isles, Australia and India (the Empire strikes back, apparently) provides ample evidence of her ability to spot small gems. This year’s standouts include \u003cem>Tanna\u003c/em> (Feb. 24), a fraught Australian-made love story that unfolds on the Pacific island of Vanautu, and \u003cem>Dark Horse\u003c/em> (Feb. 23), a mood-enhancing doc about a Welsh working-class racing hero named Dream Alliance. Household names like Kate Winslet and Judy Davis propel the opening night film, \u003cem>The Dressmaker\u003c/em> (Feb. 18), as well as the well-chosen oldies (among them \u003cem>The Prime of Miss Jean Brodie\u003c/em>, starring a young and forcefully seductive Maggie Smith) that dot the program, unspooling through Feb. 25 at the Vogue.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291234\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/safe_in_hell400.jpg\" alt=\"Dorothy Mackaill in William Wellman's 'Safe in Hell,' 1931.\" width=\"400\" height=\"254\" class=\"size-full wp-image-11291234\">\u003cfigcaption class=\"wp-caption-text\">Dorothy Mackaill in William Wellman’s ‘Safe in Hell,’ 1931. \u003ccite>(Courtesy of the Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">Hollywood Before the Code: Sex! Crime! Horror!\u003c/a>\u003c/h3>\n\u003ch5>Castro Theatre, San Francisco\u003cbr>\nFeb. 24-March 30\u003c/h5>\n\u003cp>In the early 1930s, the major studios agreed to a production code that banned the presentation (glamorization, in other words) of illicit and/or unpunished unethical behavior. However, they didn’t actually enforce their own rules — censor films, that is — until 1934. This laissez faire period known as the pre-Code era is rife with amoral tales of gangsters living large (\u003cem>Scarface\u003c/em>, Feb. 24) and salacious sagas of bad girls getting ahead (\u003cem>Shanghai Express\u003c/em> with Marlene Dietrich, Mar. 9). Elliott Lavine’s six-week series of double bills is naughty fun of a singularly adult nature.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291126\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Portman400.png\" alt=\"Natalie Portman in 'A Tale of Love and Darkness'\" width=\"400\" height=\"267\" class=\"size-full wp-image-11291126\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman in ‘A Tale of Love and Darkness’ \u003ccite>(Courtesy of Jewish International Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/list.aspx?epguid=5a94145f-8442-4718-9436-6311cc3f0274&\" target=\"_blank\" rel=\"noopener\">S.F. Jewish Film Festival’s Winterfest\u003c/a>\u003c/h3>\n\u003ch5>Alamo Drafthouse, San Francisco\u003cbr>\nFeb. 27\u003c/h5>\n\u003cp>You’ve probably deduced that this is a good month for moviegoers who enjoy violating taboos — or watching other people misbehave on a big screen in the dark. On that basis, the star attraction of the S.F. Jewish Film Festival’s annual offseason all-day showcase at the Alamo Drafthouse is Avishai Sivan’s uncompromising \u003cem>Tikkun\u003c/em> (Feb. 27). The black-and-white film centers on a young ultra-Orthodox Israeli Jew who guiltily veers onto a path of risky and decidedly irreligious impulses after his father prays and coaxes him back to life after an accident. You also may be tempted to check out Natalie Portman’s feature directorial debut, \u003cem>A Tale of Love and Darkness\u003c/em>, adapted from Amos Oz’s memoir. However, it won’t have the desired effect of serving as a pre-Oscars antidote to the odious self-congratulation, hollow self-deprecation and worthless platitudes to come. \u003cem>Tikkun\u003c/em>, I promise, will inoculate you against all that.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tension is nearly unbearable as we jump into February. Will host Chris Rock come out in whiteface when the curtain rises on the Academy Awards ceremony on Sunday, Feb. 28? Which presenters or winners — black, white, Asian or Hispanic — will acknowledge Black Lives Matter instead of Boycott Oscar? Who will be cited in the most jokes: Jennifer Lawrence, Donald Trump, Samuel L. Jackson or Han Solo?\u003c/p>\n\u003cp>Or perhaps, given Valentine’s Day on the horizon, your most pressing question is, “Will (s)he or won’t (s)he?” Either way, you’ll find provocative answers — and more intriguing questions — in the dark at a nearby theater.\u003c/p>\n\u003cfigure id=\"attachment_11291121\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kirikou400.jpg\" alt=\"'Kirikou and the Sorceress'\" width=\"400\" height=\"241\" class=\"size-full wp-image-11291121\">\u003cfigcaption class=\"wp-caption-text\">‘Kirikou and the Sorceress’ \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.bampfa.berkeley.edu/program/african-film-festival-2016\" target=\"_blank\" rel=\"noopener\">African Film Festival 2016\u003c/a>\u003c/h3>\n\u003ch5>Berkeley Art Museum and Pacific Film Archive, Berkeley\u003cbr>\nFeb. 11–March 19\u003c/h5>\n\u003cp>The Pacific Film Archive and Berkeley Art Museum are in the midst of inaugurating their brand-new home in downtown Berkeley with a slew of special events. The temptations include Ingmar Bergman’s \u003cem>The Seventh Seal\u003c/em> (Feb. 3) and Douglas Sirk’s \u003cem>The Tarnished Angels\u003c/em> (Feb. 7), and visits by New York documentary master Alan Berliner (Feb. 10) and Winnipeg silent-film obsessive Guy Maddin (Feb. 12-14). The African Film Festival (Feb. 11-March 19) boasts an especially strong lineup this year, mixing classics like Ousmane Sembene’s \u003cem>Black Girl\u003c/em> from 1966 and the 1998 animated children’s film \u003cem>Kirikou and the Sorceress\u003c/em> with the kinetic recent Ivory Coast thriller \u003cem>Run\u003c/em>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291122\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Bride400.jpg\" alt=\"James Whalen, 'Bride of Frankenstein,' 1935.\" width=\"400\" height=\"299\" class=\"size-full wp-image-11291122\">\u003cfigcaption class=\"wp-caption-text\">James Whalen, ‘Bride of Frankenstein,’ 1935. \u003ccite>(Courtesy of Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.ybca.org/gothic-cinema\" target=\"_blank\" rel=\"noopener\">The Bride of Frankenstein\u003c/a>\u003c/h3>\n\u003ch5>Yerba Buena Center for the Arts, San Francisco\u003cbr>\nFeb. 13 and 14\u003c/h5>\n\u003cp>Speaking of classics, Yerba Buena Center for the Arts curator Joel Shepard has booked a beauty for Valentine’s weekend. \u003cem>The Bride of Frankenstein\u003c/em> (Feb. 13 and 14) is one of the great sequels in movie history thanks to the unexpectedly moving love story at its center. (Beauty and the beast, indeed.) James Whale’s moody 1935 film is one of 13 delicious nibbles in \u003cem>Gothic Cinema\u003c/em>, a candy box of eerie, atmospheric tales of psychological obsession screening from Feb. 11 through April 10.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291125\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Brodie400.jpg\" alt=\"Maggie Smith in 'The Prime of Miss Jean Brodie,' 1969.\" width=\"400\" height=\"267\" class=\"size-full wp-image-11291125\">\u003cfigcaption class=\"wp-caption-text\">Maggie Smith in ‘The Prime of Miss Jean Brodie,’ 1969. \u003ccite>(Courtesy of the Mostly British Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://mostlybritish.org/\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a>\u003c/h3>\n\u003ch5>Vogue Theatre, San Francisco\u003cbr>\nFeb. 18-25\u003c/h5>\n\u003cp>\u003cem>San Francisco Chronicle\u003c/em> film writer Ruthe Stein’s annual survey of recent films from the British Isles, Australia and India (the Empire strikes back, apparently) provides ample evidence of her ability to spot small gems. This year’s standouts include \u003cem>Tanna\u003c/em> (Feb. 24), a fraught Australian-made love story that unfolds on the Pacific island of Vanautu, and \u003cem>Dark Horse\u003c/em> (Feb. 23), a mood-enhancing doc about a Welsh working-class racing hero named Dream Alliance. Household names like Kate Winslet and Judy Davis propel the opening night film, \u003cem>The Dressmaker\u003c/em> (Feb. 18), as well as the well-chosen oldies (among them \u003cem>The Prime of Miss Jean Brodie\u003c/em>, starring a young and forcefully seductive Maggie Smith) that dot the program, unspooling through Feb. 25 at the Vogue.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291234\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/safe_in_hell400.jpg\" alt=\"Dorothy Mackaill in William Wellman's 'Safe in Hell,' 1931.\" width=\"400\" height=\"254\" class=\"size-full wp-image-11291234\">\u003cfigcaption class=\"wp-caption-text\">Dorothy Mackaill in William Wellman’s ‘Safe in Hell,’ 1931. \u003ccite>(Courtesy of the Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">Hollywood Before the Code: Sex! Crime! Horror!\u003c/a>\u003c/h3>\n\u003ch5>Castro Theatre, San Francisco\u003cbr>\nFeb. 24-March 30\u003c/h5>\n\u003cp>In the early 1930s, the major studios agreed to a production code that banned the presentation (glamorization, in other words) of illicit and/or unpunished unethical behavior. However, they didn’t actually enforce their own rules — censor films, that is — until 1934. This laissez faire period known as the pre-Code era is rife with amoral tales of gangsters living large (\u003cem>Scarface\u003c/em>, Feb. 24) and salacious sagas of bad girls getting ahead (\u003cem>Shanghai Express\u003c/em> with Marlene Dietrich, Mar. 9). Elliott Lavine’s six-week series of double bills is naughty fun of a singularly adult nature.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_11291126\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Portman400.png\" alt=\"Natalie Portman in 'A Tale of Love and Darkness'\" width=\"400\" height=\"267\" class=\"size-full wp-image-11291126\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman in ‘A Tale of Love and Darkness’ \u003ccite>(Courtesy of Jewish International Film Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>\u003ca href=\"http://prod3.agileticketing.net/websales/pages/list.aspx?epguid=5a94145f-8442-4718-9436-6311cc3f0274&\" target=\"_blank\" rel=\"noopener\">S.F. Jewish Film Festival’s Winterfest\u003c/a>\u003c/h3>\n\u003ch5>Alamo Drafthouse, San Francisco\u003cbr>\nFeb. 27\u003c/h5>\n\u003cp>You’ve probably deduced that this is a good month for moviegoers who enjoy violating taboos — or watching other people misbehave on a big screen in the dark. On that basis, the star attraction of the S.F. Jewish Film Festival’s annual offseason all-day showcase at the Alamo Drafthouse is Avishai Sivan’s uncompromising \u003cem>Tikkun\u003c/em> (Feb. 27). The black-and-white film centers on a young ultra-Orthodox Israeli Jew who guiltily veers onto a path of risky and decidedly irreligious impulses after his father prays and coaxes him back to life after an accident. You also may be tempted to check out Natalie Portman’s feature directorial debut, \u003cem>A Tale of Love and Darkness\u003c/em>, adapted from Amos Oz’s memoir. However, it won’t have the desired effect of serving as a pre-Oscars antidote to the odious self-congratulation, hollow self-deprecation and worthless platitudes to come. \u003cem>Tikkun\u003c/em>, I promise, will inoculate you against all that.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 2011, the British director Andrew Haigh made \u003cem>Weekend\u003c/em>, an achingly wistful chamber piece about a lifetime of unfulfilled longing poured into a brief encounter between two very different gay men. \u003cem>Weekend\u003c/em> comes highly recommended, as does Haigh’s new film, \u003cem>45 Years\u003c/em>, which also spans a few days, here slogged through by an aging couple forced by startling news to reassess their long marriage. Neither film has a plot in the received sense, nor does either lead us to a foregone conclusion. Both take sympathetic but precise measure of seismic changes in emotional temperature. Both are for people who love to watch the momentous percolate within the mundane.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tg5cpiX18TA\u003c/p>\n\u003cp>In the run-up to a party to celebrate the 45th anniversary of Geoff and Kate (Tom Courtenay and Charlotte Rampling), a letter arrives bearing news that the body of Geoff’s former lover, Katya, who fell down a rock fissure during a hike in the Swiss Alps more than a half-century earlier, has been found preserved in ice. Kate has always known of Katya, but she’s about to learn a lot more than might be good for her or Geoff, who is visibly shaken. Katya remains as she was on the day of her death, and in less sensitive hands that fact, along with the fissure and the ice, might be worked to death as metaphors for the abyss that opens up in a union that has chugged along comfortably for most of its life. Instead, Haigh trickles the symbolism insidiously into our consciousness and Kate’s, along with the flat, winterized Norfolk landscape that frames their quietly intense struggle to recover equilibrium.\u003c/p>\n\u003cp>Life continues to flow along. Kate makes tea; walks the dog; lunches with a friend; oversees party arrangements. Geoff maintains an ongoing struggle with a broken toilet; cracks open Kierkegaard (again, his wife feels moved to point out); blows hard against this racist or that sellout in their circle. But a switch has been thrown. Is it salutary or the kiss of death? There’s more sex and more calling up the past than either Kate or Geoff has done in a while. It’s harder for them than most: these resolutely anti-bourgeois children of the ’60s are retired from jobs that don’t seem to have been central to the identity of either, and they have no photos of children or grandchildren to give shape and meaning to their lives. Each begins to conduct covert operations that threaten the status quo and exacerbate a mounting agitation in volatile Geoff, a gathering unease in his more contained wife.\u003c/p>\n\u003cp>Well, of course she’s contained. She’s Charlotte Rampling, ever gracious and composed but also slightly imperious, slightly impatient — and very, very, spare with the growing confusion of a woman reeling from news that throws a harsh new light on her hitherto unexamined life. Pairing Rampling with Courtenay was an ingenious move, and not only because the two perform a beautifully calibrated \u003cem>pas de deux\u003c/em>. As actors they belong to roughly the same generation, but their early careers span a profound change in the British cultural weather. For moviegoers their age, Courtenay still comes inextricably identified with the working-class-conscious \u003cem>The Loneliness of the Long Distance Runner\u003c/em> and other Angry Young Men films of late 1950s; Rampling remains (via \u003cem>Georgy Girl\u003c/em> and others) a potent, if patrician, symbol of the Swinging Sixties. Haigh slyly alludes to this. “You were a knockout!” Geoff recalls of his first sighting of Kate. That she was, but the nuanced, assessing intelligence that has earned Rampling a thriving international career well into her sixties is fully in charge here in Kate’s gradual awareness that a possibly fatal wedge has been driven into her marriage, and that “communication,” ubiquitously vaunted as the key to conjugal happiness, may be a double-edged sword.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As to whether this will turn out to be a lasting union or a fatally compromised marriage of convenience, Haigh won’t tip his hand exactly, and you can make what you like of the long, steady shot of wind rustling through dead leaves that haven’t yet left a tree. Or of the couple’s choice of an old Platters cover of \u003cem>Smoke Gets in Your Eyes\u003c/em> to accompany their first dance at a party that gives every appearance of becoming a roaring success.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, \u003cem>45 Years\u003c/em> is Kate’s film, and at the party, this enigmatic woman seems to have opted for pragmatism, or maybe it’s forbearance. But as the camera comes to rest on that lovely face, you may see a look so lost and stricken, it will rip the heart right out of your chest.\u003c/p>\n\n",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"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/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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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"
}
},
"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",
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