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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director’s technique is to shoot almost the entire film in severe close-up on his leading man (Géza Röhrig), which has the effect of putting you next to him in Auschwitz. It also, because the director uses very shallow focus, has the effect of making the atrocities around him blurry and indistinct — which sounds as if it would make the film easier to watch, but actually makes it all the more horrific because you can’t focus on what you’re hearing: German officers mocking those on their way to slaughter, ashes shoveled into swollen rivers, killing frenzies for no apparent reason.\u003c/p>\n\u003cp>And filling most of the frame, always, is the man with the “X” on his jacket, who is consumed while we watch him by a single obsession: Though he has been present for thousands of murders, seen many bodies burn in the camp’s crematoria, he is searching for a rabbi to give one body — that of a boy who died before his eyes — what he thinks is a proper Jewish burial.\u003c/p>\n\u003cp>“You’ve betrayed the living to help the dead,” he’s told when his single-mindedness puts a camp uprising in jeopardy. But that’s a moral quandary that doesn’t slow him for a second.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The character’s narrow focus, the director’s shallow focus, add up somehow to profound depth of feeling in \u003cem>Son of Saul\u003c/em>. If there has been a more powerful cinematic experience this year, I didn’t see it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/TDL01152016.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=VzXYvyFqM4Y\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z3aklEgwjF8\u003c/p>\n\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VzXYvyFqM4Y'\n title='//www.youtube.com/embed/VzXYvyFqM4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 17:\u003c/strong> Ignacio Piñeiro founded this band in 1927 and it’s continued to thrive since then, despite frequent changes in personnel over the years. Piñeiro himself was a great rumbero and helped develop “son Cubano” — a music genre that marries Spanish traditional songs with African rhythms — before he died in 1969. These days Eugenio “Raspa” Rodríguez and Francisco “El Matador” Oropesa lead the band, and they played a marvelously tight set here in San Francisco a few years ago. Expect the same when they play Sunday night at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/septeto-nacional/\" target=\"_blank\" rel=\"noopener\">Brava Theater\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11246854\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246854\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg\" alt=\"Symphony Silicon Valley presents 'Raiders of the Lost Ark'\" width=\"960\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Raiders-SSV-768x576.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Symphony Silicon Valley presents ‘Raiders of the Lost Ark’ \u003ccite>(Photo: 21st Century Symphony Orchestra.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 15-17: \u003c/strong>Hard to believe the first Indiana Jones movie, \u003ca href=\"http://www.imdb.com/title/tt0082971/\" target=\"_blank\" rel=\"noopener\">\u003cem>Raiders of the Lost Ark\u003c/em>, \u003c/a>is now 35 years old. The film, birthed from a collaboration between George Lucas and Steven Spielberg, is an update on the movie serials of yore and is still the best of the bunch. And there’s a fresh (if pricey) way to see the film this weekend as \u003ca href=\"https://www.symphonysiliconvalley.org/\" target=\"_blank\" rel=\"noopener\">Symphony Silicon Valley\u003c/a> (SVV) plays the \u003ca href=\"https://en.wikipedia.org/wiki/John_Williams\" target=\"_blank\" rel=\"noopener\">John Williams\u003c/a> film score live to accompany the film. This is a major trend for orchestras, trying to lure new audiences in the door. SSV did it last spring with \u003cem>the Lord of the Rings\u003c/em>, and the \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/Calendar.aspx?gclid=CLr7-ay5qsoCFcRffgodk8sEFQ#kw=Films+and+Multimedia\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony has been digging into the great scores Bernard Herrmann \u003c/a>wrote for a number of Hitchcock films. \u003ca href=\"https://www.symphonysiliconvalley.org/concerts.php?pagecontID=208#showis188\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246731\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Dreamstate.png\" alt=\"Dreamstate at the Bill Graham Civic Center\" width=\"599\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate.png 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Dreamstate-400x266.png 400w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Dreamstate at the Bill Graham Civic Center\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 16-17: \u003c/strong>Trance music is an amazingly popular form of electronic dance music born in Germany (my daughter loves it), with concerts in Los Angeles selling out within hours. Think DJ’s on the stage, dialing up 125 beats per minute that build, and build, and build, and then release. \u003ca href=\"http://www.dreamstateusa.com/\" target=\"_blank\" rel=\"noopener\">Dreamstate fills the Bill Graham Auditorium Saturday and Sunday\u003c/a> with new and older acts including Aly and Fila, Cosmic Gate, Paul Oakenfold,, Paul Van Dyk and more. Don’t forget to hydrate.\u003c/p>\n\u003cfigure id=\"attachment_11246483\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg\" alt=\"Feathers Of Fire\" width=\"500\" height=\"238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Feather-Of-Fire-400x190.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Feathers Of Fire \u003ccite>(Photo Credit: Finecutstudio.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 16-18:\u003c/strong> \u003cem>Feathers of Fire\u003c/em> is a tale from the ancient Persian epic Shahname, the Book of Kings. And it’s also the newest work by San Francisco \u003ca href=\"http://www.shadowlight.org/slp/index.cfm\" target=\"_blank\" rel=\"noopener\">shadow puppet master Larry Reed \u003c/a>in a production conceived and directed by Iranian American filmmaker \u003ca href=\"http://www.kingorama.com/\" target=\"_blank\" rel=\"noopener\">Hamid Rahmanian\u003c/a>. Reed called this production the IMAX of shadow theater, because the team is projecting videos, and the shadows of puppets and live actors onto a 30-by-15 foot screen. Expect magic, if you can get a ticket: As of Thursday, all but one show was sold out. \u003ca href=\"https://www.facebook.com/events/526630310836844/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a> and \u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\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/z3aklEgwjF8'\n title='//www.youtube.com/embed/z3aklEgwjF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan 18 & 19:\u003c/strong> Ty Segall may be the world’s best and prolific garage rocker. He’s contributed to 20 albums in the last few years, and the majority of his music is nasty, loud, fuzzy and strange, yet full of pop hooks. And even though he left San Francisco for Los Angeles a few years ago, we still love him. He’s been promoting his new album \u003cem>Emotional Mugger\u003c/em> with a series of bizarre videos, including one with him wearing what looks like a Jabba the Hut baby mask. He’s at the \u003ca href=\"http://thefillmore.com/event/ty-segall-the-muggers/\" target=\"_blank\" rel=\"noopener\">Fillmore for two nights.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11246737\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11246737\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg\" alt=\"Kelley Stoltz\" width=\"960\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Kelly-Stoltz-768x512.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz\u003c/figcaption>\u003c/figure>\n\u003cp>And for a sunnier indie sound, try San Francisco rocker \u003ca href=\"http://www.kelleystoltz.com/\" target=\"_blank\" rel=\"noopener\">Kelley Stoltz\u003c/a> at the Chapel. Stoltz, like Segall, has a new album out, \u003cem>In Triangle Time\u003c/em>. The show is a \u003cstrong>Cheap Thrill\u003c/strong> at just $15. \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>A couple of SHOUTouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jan. 17:\u003c/strong> I’m a fan of new music advocate and pianist Sarah Cahill. She’s presenting an eclectic program that includes a world premiere of a new work from the Bay Area’s Danny Clay at the \u003ca href=\"http://nvcm.org/season/season23/sarah-cahill/\" target=\"_blank\" rel=\"noopener\">Noe Valley Chamber Music series Sunday afternoon.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 14-Feb. 10:\u003c/strong> David Wiegand likes \u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">SOMArts new show \u003c/a>\u003cem>\u003ca href=\"http://www.somarts.org/infinitearchives/\" target=\"_blank\" rel=\"noopener\">Visions Into Infinite Archives\u003c/a>,\u003c/em> curated by \u003ca href=\"http://blacksaltcollective.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Black Salt Collective\u003c/a>, which champions black, brown, and indigenous visions. It’s another \u003cstrong>Cheap Thrill,\u003c/strong> as admission to SOMArts is always free. \u003ci>(We also suggest reading \u003ca href=\"http://ww2.kqed.org/arts/author/shotchkiss/\" target=\"_blank\" rel=\"noopener\">Sarah Hotchkiss’s\u003c/a> review of \u003ca href=\"http://ww2.kqed.org/arts/2016/01/14/black-salt-collective-agitates-the-archive-with-visions-at-somarts/\" target=\"_blank\" rel=\"noopener\">‘Visions Into Archives’ here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The highlight, for this writer, of the official list of Academy Award contenders announced at 5:30am this morning was the inclusion of The Weeknd’s \u003ca href=\"https://youtu.be/xe_iCkFsQKE\" target=\"_blank\" rel=\"noopener\">“Earned It”\u003c/a> among the best original song nominees. I have no affinity for the tune, but I take perverse pleasure in knowing that smack in the middle of the Oscar ceremony on Feb. 28 — the Academy of Motion Pictures Arts and Sciences’ annual infomercial trumpeting the supreme art and craft of the Hollywood film industry — all of America will be reminded of the lame existence of \u003cem>Fifty Shades of Gray\u003c/em>.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Cheat Sheet: 2016 Oscar Nominees\u003c/h3>\n\u003cp>\u003cstrong>Best Picture\u003c/strong>\u003cbr>\n\u003cem>Big Short\u003cbr>\nBridge of Spies\u003cbr>\nBrooklyn\u003cbr>\nMad Max: Fury Road\u003cbr>\nThe Martian\u003cbr>\nThe Revenant\u003cbr>\nRoom\u003cbr>\nSpotlight\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Actress\u003c/strong>\u003cbr>\nCate Blanchett, \u003cem>Carol\u003c/em>\u003cbr>\nBrie Larson, \u003cem>Room\u003c/em>\u003cbr>\nJennifer Lawrence, \u003cem>Joy\u003c/em>\u003cbr>\nCharlotte Rampling, \u003cem>45 Years\u003c/em>\u003cbr>\nSaoirse Ronan, \u003cem>Brooklyn\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Actor\u003c/strong>\u003cbr>\nBryan Cranston, \u003cem>Trumbo\u003c/em>\u003cbr>\nMatt Damon, \u003cem>The Martian\u003c/em>\u003cbr>\nLeonardo DiCaprio, \u003cem>The Revenant\u003c/em>\u003cbr>\nMichael Fassbender, \u003cem>Jobs\u003c/em>\u003cbr>\nEddie Redmayne, \u003cem>The Danish Girl\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress\u003c/strong>\u003cbr>\nJennifer Jason Leigh, \u003cem>The Hateful Eight\u003c/em>\u003cbr>\nRooney Mara, \u003cem>Carol\u003c/em>\u003cbr>\nRachel McAdams, \u003cem>Spotlight\u003c/em>\u003cbr>\nAlicia Vikander, \u003cem>The Danish Girl\u003c/em>\u003cbr>\nKate Winslet, \u003cem>Jobs\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor\u003c/strong>\u003cbr>\nChristian Bale, \u003cem>The Big Short\u003c/em>\u003cbr>\nTom Hardy, \u003cem>The Revenant\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Spotlight\u003c/em>\u003cbr>\nMark Rylance, \u003cem>Bridge of Spies\u003c/em>\u003cbr>\nSylvester Stallone, \u003cem>Creed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Directing\u003c/strong>\u003cbr>\nAdam McKay, \u003cem>The Big Short\u003c/em>\u003cbr>\nGeorge Miller, \u003cem>Mad Max: Fury Road\u003c/em>\u003cbr>\nAlejandro G. Iñárritu, \u003cem>The Revenant\u003c/em>\u003cbr>\nLenny Abramson, \u003cem>Room\u003c/em>\u003cbr>\nTom McCarthy, \u003cem>Spotlight\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>See, the Academy Awards telecast, hosted this year by Chris Rock (who’s already working on 50 shades of jokes about Sylvester Stallone’s nomination for best supporting actor for \u003cem>Creed\u003c/em> while that movie’s black lead actor Michael B. Jordan and black writer-director Ryan Coogler were never in the running in their categories), is nothing if not a studious effort to wipe our memories clean of the money-making junk that Hollywood pumps to the multiplexes for teenagers and children to gorge on. For three-and-a-quarter hours every year, the academy pretends it’s in the business of making movies for adults, and laboring in the service of art.\u003c/p>\n\u003cp>To sustain that illusion, eight films (out of a possible 10) are in the running for best picture: \u003cem>Bridge of Spies\u003c/em>, \u003cem>The Big Short\u003c/em>, \u003cem>Brooklyn\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>The Martian\u003c/em>, \u003cem>The Revenant\u003c/em>, \u003cem>Room\u003c/em> and \u003cem>Spotlight\u003c/em>. There’s nothing approaching a masterpiece in the bunch (only \u003cem>Brooklyn\u003c/em> offers the precious combo of craft and heart), which is consistent with the consensus, as one high-profile fall and holiday film after another proved disappointingly flawed.\u003c/p>\n\u003cp>It’s worth noting that four of the Grateful Eight are devoid of women characters, and \u003cem>Spotlight\u003c/em>’s lone female, Rachel McAdams, registers in only a couple scenes (which was enough, apparently, for a supporting actress nod). While I can’t claim there’s greatness in the year’s quartet of films about strong women — \u003cem>Carol\u003c/em>, \u003cem>Joy\u003c/em>, \u003cem>Suffragette\u003c/em> and \u003cem>Freeheld\u003c/em> — it’s worth noting that all were shunned in the major categories except for best actress noms for Cate Blanchett (\u003cem>Carol\u003c/em>) and Jennifer Lawrence (\u003cem>Joy\u003c/em>), and Rooney Mara (\u003cem>Carol\u003c/em>) for supporting actress. (For those keeping score at home, Lawrence now stands a mere 15 career nominations behind Meryl Streep, who didn’t make the cut this year.)\u003c/p>\n\u003cfigure id=\"attachment_11246121\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Joy.jpg\" alt=\"Best actress nominee Jennifer Lawrence in 'Joy.'\" width=\"640\" height=\"345\" class=\"size-full wp-image-11246121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Joy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Joy-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Best actress nominee Jennifer Lawrence in ‘Joy.’ \u003ccite>(Courtesy: 20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best actress nominee Brie Larson propelled \u003cem>Room\u003c/em>’s breakthrough as the Academy’s designated indie (last year it was \u003cem>Whiplash\u003c/em>), with nods also going to director Lenny Abrahamson and screenwriter Emma Donoghue. My favorite performance of the year, Charlotte Rampling in \u003cem>45 Years\u003c/em>, is recognized in the best actress category, as well, with Saoirse Ronan taking the other best actress slot for \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>Trumbo\u003c/em>), Michael Fassbender (\u003cem>Steve Jobs\u003c/em>), Eddie Redmayne (\u003cem>The Danish Girl\u003c/em>) and Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) received best actor nominations for interpreting historical figures, while Matt Damon played yet another variation of himself in \u003cem>The Martian\u003c/em>. I’m even less enthused about the supporting actor choices of Mark Ruffalo (\u003cem>Spotlight\u003c/em>), Christian Bale (\u003cem>The Big Short\u003c/em>), Tom Hardy (\u003cem>The Revenant\u003c/em>), Mark Rylance (\u003cem>Bridge of Spies\u003c/em>) and the aforementioned Sly Stallone.\u003c/p>\n\u003cfigure id=\"attachment_11246122\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/revenant.jpg\" alt=\"Best actor nominee Leonardo DiCaprio in best picture nominated 'The Revenant.'\" width=\"640\" height=\"425\" class=\"size-full wp-image-11246122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/revenant.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/revenant-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Best actor nominee Leonardo DiCaprio in best picture nominated ‘The Revenant.’ \u003ccite>(Photo: Kimberley French/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Revenant\u003c/em> turned out to be the only end-of-year prestige picture to hit the bulls-eye with academy members, racking up nominations for director Alejandro G. Iñárritu and cinematographer Emmanuel Lubezki along with the two actors (and, of course, best picture). \u003c/p>\n\u003cp>The gulf between what AMPAS members honor and what the public votes for with its wallets shrunk this year, as \u003cem>Star Wars: The Force Awakens\u003c/em>, \u003cem>The Martian\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> received multiple nominations. (The Pixar hit \u003cem>Inside Out\u003c/em> made the grade in the animated feature category, though that can’t be considered a surprise.)\u003c/p>\n\u003cfigure id=\"attachment_11246124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Spotlight.jpg\" alt=\"Rachel McAdams, Mark Ruffalo, Brian d’Arcy, Michael Keaton and John Slattery in best picture nominated 'Spotlight.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-11246124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spotlight.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spotlight-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rachel McAdams, Mark Ruffalo, Brian d’Arcy, Michael Keaton and John Slattery in best picture nominated ‘Spotlight.’ \u003ccite>(Photo: Kerry Hayes/Open Road Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special shout-out to documentary short nominees Dee Hibbert-Jones and Nomi Talisman, whose \u003cem>Last Day of Freedom\u003c/em> recently aired on KQED’s \u003ca href=\"http://ww2.kqed.org/trulyca/last-day-of-freedom/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>. The five documentary features in contention for the Oscar — and we could debate them all day — are the artist profiles \u003cem>Amy\u003c/em> and \u003cem>What Happened, Miss Simone?\u003c/em> and three portraits from abroad: \u003cem>The Look of Silence\u003c/em>, \u003cem>Winter On Fire: Ukraine’s Fight for Freedom\u003c/em> and \u003cem>Cartel Land\u003c/em>.\u003c/p>\n\u003cp>The foreign language finalists are led by prohibitive favorite \u003cem>Son of Saul\u003c/em> from Hungary, which opens tomorrow, \u003cem>Embrace of the Serpent\u003c/em> from Colombia (opening Feb. 26), \u003cem>Mustang\u003c/em> from France (now playing), \u003cem>Theeb\u003c/em> (Jordan) and \u003cem>A War\u003c/em> (Denmark).\u003c/p>\n\u003cfigure id=\"attachment_11246125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Bill640.png\" alt=\"Still from documentary short nominated 'Last Day of Freedom.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11246125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Bill640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Bill640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from documentary short nominated ‘Last Day of Freedom.’ \u003ccite>(Photo: Dee Hibbert-Jones and Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, the most amusing nod to me was the makeup and hairstyling nomination for \u003cem>The 100-Year-Old Man Who Climbed Out the Window and Disappeared\u003c/em>, a Swedish film that premiered locally at the 2014 Mill Valley Film Festival and subsequently had a brief theatrical run.\u003c/p>\n\u003cp>I predict, with no enthusiasm at all, that \u003cem>Spotlight\u003c/em> will take home the gold statuette for best picture. Pedestrian, prosaic and perfunctory, it nonetheless will find favor with the most academy members in a year in which nothing stood out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>(Ed. note: For a full break-down of all the Oscar snubs and surprises, check out \u003ca href=\"http://ww2.kqed.org/pop/2016/01/14/2016-oscars-the-snubs-and-surprises-that-are-making-the-internet-angry/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>.)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The highlight, for this writer, of the official list of Academy Award contenders announced at 5:30am this morning was the inclusion of The Weeknd’s \u003ca href=\"https://youtu.be/xe_iCkFsQKE\" target=\"_blank\" rel=\"noopener\">“Earned It”\u003c/a> among the best original song nominees. I have no affinity for the tune, but I take perverse pleasure in knowing that smack in the middle of the Oscar ceremony on Feb. 28 — the Academy of Motion Pictures Arts and Sciences’ annual infomercial trumpeting the supreme art and craft of the Hollywood film industry — all of America will be reminded of the lame existence of \u003cem>Fifty Shades of Gray\u003c/em>.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>Cheat Sheet: 2016 Oscar Nominees\u003c/h3>\n\u003cp>\u003cstrong>Best Picture\u003c/strong>\u003cbr>\n\u003cem>Big Short\u003cbr>\nBridge of Spies\u003cbr>\nBrooklyn\u003cbr>\nMad Max: Fury Road\u003cbr>\nThe Martian\u003cbr>\nThe Revenant\u003cbr>\nRoom\u003cbr>\nSpotlight\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Actress\u003c/strong>\u003cbr>\nCate Blanchett, \u003cem>Carol\u003c/em>\u003cbr>\nBrie Larson, \u003cem>Room\u003c/em>\u003cbr>\nJennifer Lawrence, \u003cem>Joy\u003c/em>\u003cbr>\nCharlotte Rampling, \u003cem>45 Years\u003c/em>\u003cbr>\nSaoirse Ronan, \u003cem>Brooklyn\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Actor\u003c/strong>\u003cbr>\nBryan Cranston, \u003cem>Trumbo\u003c/em>\u003cbr>\nMatt Damon, \u003cem>The Martian\u003c/em>\u003cbr>\nLeonardo DiCaprio, \u003cem>The Revenant\u003c/em>\u003cbr>\nMichael Fassbender, \u003cem>Jobs\u003c/em>\u003cbr>\nEddie Redmayne, \u003cem>The Danish Girl\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress\u003c/strong>\u003cbr>\nJennifer Jason Leigh, \u003cem>The Hateful Eight\u003c/em>\u003cbr>\nRooney Mara, \u003cem>Carol\u003c/em>\u003cbr>\nRachel McAdams, \u003cem>Spotlight\u003c/em>\u003cbr>\nAlicia Vikander, \u003cem>The Danish Girl\u003c/em>\u003cbr>\nKate Winslet, \u003cem>Jobs\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor\u003c/strong>\u003cbr>\nChristian Bale, \u003cem>The Big Short\u003c/em>\u003cbr>\nTom Hardy, \u003cem>The Revenant\u003c/em>\u003cbr>\nMark Ruffalo, \u003cem>Spotlight\u003c/em>\u003cbr>\nMark Rylance, \u003cem>Bridge of Spies\u003c/em>\u003cbr>\nSylvester Stallone, \u003cem>Creed\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Best Directing\u003c/strong>\u003cbr>\nAdam McKay, \u003cem>The Big Short\u003c/em>\u003cbr>\nGeorge Miller, \u003cem>Mad Max: Fury Road\u003c/em>\u003cbr>\nAlejandro G. Iñárritu, \u003cem>The Revenant\u003c/em>\u003cbr>\nLenny Abramson, \u003cem>Room\u003c/em>\u003cbr>\nTom McCarthy, \u003cem>Spotlight\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>See, the Academy Awards telecast, hosted this year by Chris Rock (who’s already working on 50 shades of jokes about Sylvester Stallone’s nomination for best supporting actor for \u003cem>Creed\u003c/em> while that movie’s black lead actor Michael B. Jordan and black writer-director Ryan Coogler were never in the running in their categories), is nothing if not a studious effort to wipe our memories clean of the money-making junk that Hollywood pumps to the multiplexes for teenagers and children to gorge on. For three-and-a-quarter hours every year, the academy pretends it’s in the business of making movies for adults, and laboring in the service of art.\u003c/p>\n\u003cp>To sustain that illusion, eight films (out of a possible 10) are in the running for best picture: \u003cem>Bridge of Spies\u003c/em>, \u003cem>The Big Short\u003c/em>, \u003cem>Brooklyn\u003c/em>, \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>The Martian\u003c/em>, \u003cem>The Revenant\u003c/em>, \u003cem>Room\u003c/em> and \u003cem>Spotlight\u003c/em>. There’s nothing approaching a masterpiece in the bunch (only \u003cem>Brooklyn\u003c/em> offers the precious combo of craft and heart), which is consistent with the consensus, as one high-profile fall and holiday film after another proved disappointingly flawed.\u003c/p>\n\u003cp>It’s worth noting that four of the Grateful Eight are devoid of women characters, and \u003cem>Spotlight\u003c/em>’s lone female, Rachel McAdams, registers in only a couple scenes (which was enough, apparently, for a supporting actress nod). While I can’t claim there’s greatness in the year’s quartet of films about strong women — \u003cem>Carol\u003c/em>, \u003cem>Joy\u003c/em>, \u003cem>Suffragette\u003c/em> and \u003cem>Freeheld\u003c/em> — it’s worth noting that all were shunned in the major categories except for best actress noms for Cate Blanchett (\u003cem>Carol\u003c/em>) and Jennifer Lawrence (\u003cem>Joy\u003c/em>), and Rooney Mara (\u003cem>Carol\u003c/em>) for supporting actress. (For those keeping score at home, Lawrence now stands a mere 15 career nominations behind Meryl Streep, who didn’t make the cut this year.)\u003c/p>\n\u003cfigure id=\"attachment_11246121\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Joy.jpg\" alt=\"Best actress nominee Jennifer Lawrence in 'Joy.'\" width=\"640\" height=\"345\" class=\"size-full wp-image-11246121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Joy.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Joy-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Best actress nominee Jennifer Lawrence in ‘Joy.’ \u003ccite>(Courtesy: 20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best actress nominee Brie Larson propelled \u003cem>Room\u003c/em>’s breakthrough as the Academy’s designated indie (last year it was \u003cem>Whiplash\u003c/em>), with nods also going to director Lenny Abrahamson and screenwriter Emma Donoghue. My favorite performance of the year, Charlotte Rampling in \u003cem>45 Years\u003c/em>, is recognized in the best actress category, as well, with Saoirse Ronan taking the other best actress slot for \u003cem>Brooklyn\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>Trumbo\u003c/em>), Michael Fassbender (\u003cem>Steve Jobs\u003c/em>), Eddie Redmayne (\u003cem>The Danish Girl\u003c/em>) and Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) received best actor nominations for interpreting historical figures, while Matt Damon played yet another variation of himself in \u003cem>The Martian\u003c/em>. I’m even less enthused about the supporting actor choices of Mark Ruffalo (\u003cem>Spotlight\u003c/em>), Christian Bale (\u003cem>The Big Short\u003c/em>), Tom Hardy (\u003cem>The Revenant\u003c/em>), Mark Rylance (\u003cem>Bridge of Spies\u003c/em>) and the aforementioned Sly Stallone.\u003c/p>\n\u003cfigure id=\"attachment_11246122\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/revenant.jpg\" alt=\"Best actor nominee Leonardo DiCaprio in best picture nominated 'The Revenant.'\" width=\"640\" height=\"425\" class=\"size-full wp-image-11246122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/revenant.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/revenant-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Best actor nominee Leonardo DiCaprio in best picture nominated ‘The Revenant.’ \u003ccite>(Photo: Kimberley French/20th Century Fox)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Revenant\u003c/em> turned out to be the only end-of-year prestige picture to hit the bulls-eye with academy members, racking up nominations for director Alejandro G. Iñárritu and cinematographer Emmanuel Lubezki along with the two actors (and, of course, best picture). \u003c/p>\n\u003cp>The gulf between what AMPAS members honor and what the public votes for with its wallets shrunk this year, as \u003cem>Star Wars: The Force Awakens\u003c/em>, \u003cem>The Martian\u003c/em> and \u003cem>Mad Max: Fury Road\u003c/em> received multiple nominations. (The Pixar hit \u003cem>Inside Out\u003c/em> made the grade in the animated feature category, though that can’t be considered a surprise.)\u003c/p>\n\u003cfigure id=\"attachment_11246124\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Spotlight.jpg\" alt=\"Rachel McAdams, Mark Ruffalo, Brian d’Arcy, Michael Keaton and John Slattery in best picture nominated 'Spotlight.'\" width=\"640\" height=\"427\" class=\"size-full wp-image-11246124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spotlight.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Spotlight-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rachel McAdams, Mark Ruffalo, Brian d’Arcy, Michael Keaton and John Slattery in best picture nominated ‘Spotlight.’ \u003ccite>(Photo: Kerry Hayes/Open Road Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A special shout-out to documentary short nominees Dee Hibbert-Jones and Nomi Talisman, whose \u003cem>Last Day of Freedom\u003c/em> recently aired on KQED’s \u003ca href=\"http://ww2.kqed.org/trulyca/last-day-of-freedom/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>. The five documentary features in contention for the Oscar — and we could debate them all day — are the artist profiles \u003cem>Amy\u003c/em> and \u003cem>What Happened, Miss Simone?\u003c/em> and three portraits from abroad: \u003cem>The Look of Silence\u003c/em>, \u003cem>Winter On Fire: Ukraine’s Fight for Freedom\u003c/em> and \u003cem>Cartel Land\u003c/em>.\u003c/p>\n\u003cp>The foreign language finalists are led by prohibitive favorite \u003cem>Son of Saul\u003c/em> from Hungary, which opens tomorrow, \u003cem>Embrace of the Serpent\u003c/em> from Colombia (opening Feb. 26), \u003cem>Mustang\u003c/em> from France (now playing), \u003cem>Theeb\u003c/em> (Jordan) and \u003cem>A War\u003c/em> (Denmark).\u003c/p>\n\u003cfigure id=\"attachment_11246125\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Bill640.png\" alt=\"Still from documentary short nominated 'Last Day of Freedom.'\" width=\"640\" height=\"360\" class=\"size-full wp-image-11246125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Bill640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Bill640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from documentary short nominated ‘Last Day of Freedom.’ \u003ccite>(Photo: Dee Hibbert-Jones and Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, the most amusing nod to me was the makeup and hairstyling nomination for \u003cem>The 100-Year-Old Man Who Climbed Out the Window and Disappeared\u003c/em>, a Swedish film that premiered locally at the 2014 Mill Valley Film Festival and subsequently had a brief theatrical run.\u003c/p>\n\u003cp>I predict, with no enthusiasm at all, that \u003cem>Spotlight\u003c/em> will take home the gold statuette for best picture. Pedestrian, prosaic and perfunctory, it nonetheless will find favor with the most academy members in a year in which nothing stood out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(Ed. note: For a full break-down of all the Oscar snubs and surprises, check out \u003ca href=\"http://ww2.kqed.org/pop/2016/01/14/2016-oscars-the-snubs-and-surprises-that-are-making-the-internet-angry/\" target=\"_blank\" rel=\"noopener\">KQED Pop\u003c/a>.)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British actor Alan Rickman, a veteran of dozens of films, has died at age 69. Recently, Rickman was most well-known for portraying the complicated villain Severus Snape in the films based on J.K. Rowling’s Harry Potter books.\u003c/p>\n\u003cp>“Rickman had been suffering from cancer,” \u003ca href=\"http://www.theguardian.com/film/2016/jan/14/alan-rickman-giant-of-british-film-and-theatre-dies-at-69\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a> reports.\u003c/p>\n\u003cp>Rickman appeared in many blockbuster films during his prolific career, from 1988’s \u003cem>Die Hard\u003c/em> with Bruce Willis to 2003’s \u003cem>Love Actually\u003c/em> and the Harry Potter films.\u003c/p>\n\u003cp>Blessed with a rich and deep voice, the actor brought intelligence and humanity to a wide spectrum of roles, judiciously deploying what seemed to be a bottomless supply of frowns and smirks that endeared him to his fans.\u003c/p>\n\u003cp>While his voice became something of a trademark, Rickman once said that he endured much criticism for it in drama school. One voice teacher, as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17424143\" target=\"_blank\" rel=\"noopener\">he recalled in 2007\u003c/a>, told Rickman that he sounded as if his voice was “coming out of the back end of a drain pipe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Explaining his own opinion of his voice, Rickman said, “Well, it’s what I’m stuck with, so it’s not like I can go and get another one. And also, I don’t hear what anybody else hears. So it’s always a bit of a shock, you know. And it never goes away.”\u003c/p>\n\u003cp>While he might be famous for playing villains, Rickman once told NPR that those roles are “a very small part of whatever I’ve done. It’s like two or three parts, and they just happened to have big publicity budgets.”\u003c/p>\n\u003cp>Rickman also directed films and theatrical works, and he acted in plays from Shakespeare’s Antony and Cleopatra to Noel Coward’s Private Lives.\u003c/p>\n\u003cp>A former member of the Royal Shakespeare Company, Rickman \u003ca href=\"http://www.npr.org/2011/11/29/142903636/alan-rickman-from-shakespeare-to-snape\" target=\"_blank\" rel=\"noopener\">spoke to NPR in 2011 \u003c/a>about his stage work in the U.S.:\u003c/p>\n\u003cblockquote>\u003cp>\n“I love working in New York theater. … It is very demanding, but it’s good to be in a city where you feel that theater is actually part of the life of the city. You know, London is so sprawling, and you can sometimes forget that anybody else is on a stage anywhere else. But here, it’s, you know, your friends and neighbors.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Three films from the 1990s help describe Rickman’s range.\u003c/p>\n\u003cp>In 1991, he turned in a memorable performance as the Sheriff of Nottingham in Robin Hood: Prince of Thieves — a film whose legacy these days isn’t helped by Kevin Costner’s hair, but which was the second-most popular film in theaters that year.\u003c/p>\n\u003cp>In 1995, he appeared in the director Ang Lee’s Sense and Sensibility, playing Colonel Brandon opposite Kate Winslet’s Marianne Dashwood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And in 1999, he showed his willingness to camp it up onscreen, when he starred with Sigourney Weaver and Tim Allen in Galaxy Quest, a film that might best be described as a sci-fi romp.\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=Actor+Alan+Rickman+Has+Died%3B+Portrayed+Snape+In+Harry+Potter+Films&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>America! Are you feeling a little stressed out as of late? The post-holidays back-to-work grind got you feeling a little jumbled in the head? Or is it wintertime, with its\u003ca href=\"http://commonhealth.wbur.org/2015/11/seasonal-affective-disorder-talk-therapy\" target=\"_blank\"> S.A.D.-inducing\u003c/a> dearth of natural night, that's got you anxious and low -- in need of some kind of bright, consistent, soothing sights and sounds?\u003c/p>\n\u003cp>A clear explanation continues to escape us, but the numbers don't lie. According to \u003ca href=\"http://instantwatcher.com/\" target=\"_blank\">instantwatcher.com\u003c/a>, a site that tracks Netflix and Amazon video views, a whole lot of us are going bonkers over what sounds, on paper, like the most boring video of all time: an hour of footage of an electric house fan turning serenely back and forth, perched on a table next to a window with sunlight streaming in. The title? \u003cem>\u003ca href=\"http://www.netflix.com/title/80093400\" target=\"_blank\">Oscillating Fan For Your Home. \u003c/a>\u003c/em>\u003c/p>\n\u003cp>It's been available since Dec. 23, a few days before which Netflix issued this highly self-aware trailer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c27D1-2p_ZM\u003c/p>\n\u003cp>At the time of this writing (10 a.m. on Thursday, Jan. 14), \u003cem>Fan \u003c/em>is supposedly the No. 4 most popular video streaming on Netflix, with \u003cem>Parks and Recreation\u003c/em> coming in at No. 6 and \u003cem>Training Day\u003c/em> at No. 12.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, uh, what gives? Did everyone go see \u003cem>The Revenant\u003c/em> at the same time and need to come home and put on some sunshiney, ambient background audiovisuals to help bleach their brains of that bear mauling scene? As for the video itself, you'll have to see it yourself to understand. Then we can talk about questions like: Whose sunglasses are those? Why did someone leave an electric fan on in an empty room for an hour? And \u003cem>who's paying their electricity bill?\u003c/em>\u003c/p>\n\u003cp>If you're a fan (sorry), please go ahead and let us know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America! Are you feeling a little stressed out as of late? The post-holidays back-to-work grind got you feeling a little jumbled in the head? Or is it wintertime, with its\u003ca href=\"http://commonhealth.wbur.org/2015/11/seasonal-affective-disorder-talk-therapy\" target=\"_blank\"> S.A.D.-inducing\u003c/a> dearth of natural night, that's got you anxious and low -- in need of some kind of bright, consistent, soothing sights and sounds?\u003c/p>\n\u003cp>A clear explanation continues to escape us, but the numbers don't lie. According to \u003ca href=\"http://instantwatcher.com/\" target=\"_blank\">instantwatcher.com\u003c/a>, a site that tracks Netflix and Amazon video views, a whole lot of us are going bonkers over what sounds, on paper, like the most boring video of all time: an hour of footage of an electric house fan turning serenely back and forth, perched on a table next to a window with sunlight streaming in. The title? \u003cem>\u003ca href=\"http://www.netflix.com/title/80093400\" target=\"_blank\">Oscillating Fan For Your Home. \u003c/a>\u003c/em>\u003c/p>\n\u003cp>It's been available since Dec. 23, a few days before which Netflix issued this highly self-aware trailer.\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/c27D1-2p_ZM'\n title='//www.youtube.com/embed/c27D1-2p_ZM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the time of this writing (10 a.m. on Thursday, Jan. 14), \u003cem>Fan \u003c/em>is supposedly the No. 4 most popular video streaming on Netflix, with \u003cem>Parks and Recreation\u003c/em> coming in at No. 6 and \u003cem>Training Day\u003c/em> at No. 12.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, uh, what gives? Did everyone go see \u003cem>The Revenant\u003c/em> at the same time and need to come home and put on some sunshiney, ambient background audiovisuals to help bleach their brains of that bear mauling scene? As for the video itself, you'll have to see it yourself to understand. Then we can talk about questions like: Whose sunglasses are those? Why did someone leave an electric fan on in an empty room for an hour? And \u003cem>who's paying their electricity bill?\u003c/em>\u003c/p>\n\u003cp>If you're a fan (sorry), please go ahead and let us know.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This morning at the ungodly hour of 5:30am, the Oscar nominations were unveiled. Last year, #OscarsSoWhite became a trending hashtag in the wake of all 20 actor contenders being white (\u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/01/the-oscars-havent-been-this-white-in-19-years/384550/\">the first time that happened since 1995\u003c/a>). If you thought the Academy would take a long, hard look at itself and make some changes, you would be wrong. This year, all 20 slots again were given to only white people. Maybe this could have something to do with the fact that Oscar voters are \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/03/oscar-voters-94-white-76-men-and-an-average-of-63-years-old/284163/\" target=\"_blank\">94% white, 76% men, and an average of 63 years old\u003c/a>. Yikes. Sigh. Ugh. Blergh. I can't seem to type out anything but one-word stand-ins for disgust so I'll let these tweets do the talking:\u003c/p>\n\u003cp>https://twitter.com/saladinahmed/status/687646570708353024\u003c/p>\n\u003cp>https://twitter.com/tnwhiskeywoman/status/687651886640566272\u003c/p>\n\u003cp>https://twitter.com/MatthewACherry/status/687696938028761088\u003c/p>\n\u003cp>https://twitter.com/brokeymcpoverty/status/687645212676624386\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway, here’s how this year’s nominations shook out (if you even still give a damn):\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress:\u003c/strong>\u003c/p>\n\u003cp>Jennifer Jason Leigh (\u003cem>The Hateful Eight)\u003c/em>\u003cbr>\nRooney Mara (\u003cem>Carol)\u003c/em>\u003cbr>\nRachel McAdams (\u003cem>Spotlight)\u003c/em>\u003cbr>\nAlicia Vikander (\u003cem>The Danish Girl)\u003c/em>\u003cbr>\nKate Winslet (\u003cem>Steve Jobs)\u003c/em>\u003c/p>\n\u003cp>Major drama in this category because many are calling Mara and Vikander's supporting actor campaigns category fraud, as they are clearly leads in their respective movies. This opens the door for more BS Hollywood machinations in the years to come. At least they finally decided to give Rachel McAdams some love for her role as Regina George in \u003cem>Mean Girls\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/rs_500x259-151117115947-giphy_5.gif\" rel=\"attachment wp-att-19890\">\u003cimg class=\"aligncenter size-full wp-image-19890\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/rs_500x259-151117115947-giphy_5.gif\" alt=\"regina george mean girls\" width=\"500\" height=\"259\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor:\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>The Big Short)\u003c/em>\u003cbr>\nTom Hardy (\u003cem>The Revenant) \u003c/em>\u003cbr>\nMark Ruffalo (S\u003cem>potlight)\u003c/em>\u003cbr>\nMark Rylance (\u003cem>Bridge of Spies)\u003c/em>\u003cbr>\nSylvester Stallone (\u003cem>Creed)\u003c/em>\u003c/p>\n\u003cp>No, that's not a typo. Sylvester Stallone is nominated for an Oscar, 39 years after his first nom for \u003cem>Rocky\u003c/em>. Another less-amusing surprise is the lack of Idris Elba for \u003cem>Beasts of No Nation\u003c/em>, which contributed to this super duper white affair. Some also expected 9-year-old Jacob Tremblay from \u003cem>Room\u003c/em> to be in the mix. Silver lining: Tom Hardy's lips will be at the Oscars.\u003c/p>\n\u003cp>\u003cstrong>Best Actress:\u003c/strong>\u003c/p>\n\u003cp>Cate Blanchett (\u003cem>Carol)\u003c/em>\u003cbr>\nBrie Larson (\u003cem>Room)\u003c/em>\u003cbr>\nJennifer Lawrence (\u003cem>Joy)\u003c/em>\u003cbr>\nCharlotte Rampling (\u003cem>45 Years)\u003c/em>\u003cbr>\nSaoirse Ronan (\u003cem>Brooklyn)\u003c/em>\u003c/p>\n\u003cp>This makes 25-year-old Jennifer Lawrence the youngest actor to receive four nominations (Meryl didn't reach #4 until she was 33). Despite her Golden Globe win a few days ago, most didn't fully expect her to grab this nom because of the lukewarm feelings around \u003cem>Joy\u003c/em>. This will probably contribute to the \u003ca href=\"http://ww2.kqed.org/pop/2013/02/27/whats-our-problem-with-anne-hathaway/\" target=\"_blank\">Anne Hathaway-ing\u003c/a> Lawrence is experiencing right now, especially in the wake of that \u003ca href=\"http://www.ibtimes.com/jennifer-lawrence-blasted-being-rude-foreign-reporter-2016-golden-globes-video-2259065\" target=\"_blank\">cringe-worthy press room incident\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Best Actor: \u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>Trumbo)\u003c/em>\u003cbr>\nMatt Damon (\u003cem>The Martian)\u003c/em>\u003cbr>\nLeonardo DiCaprio (\u003cem>The Revenant)\u003c/em>\u003cbr>\nMichael Fassbender (\u003cem>Steve Jobs)\u003c/em>\u003cbr>\nEddie Redmayne (\u003cem>The Danish Girl)\u003c/em>\u003c/p>\n\u003cp>Matt Damon bumped out \u003cem>Creed\u003c/em>'s Michael B. Jordan and \u003cem>Black Mass\u003c/em>' Johnny Depp. There goes my super involved fantasy of Depp announcing that he's gotten back together with \u003ca href=\"https://33.media.tumblr.com/c332cc5844fbd4faaab25d3e3af174aa/tumblr_inline_npi436v3PT1t1qvrx_500.gif\" target=\"_blank\">the love of his life, Winona Ryder\u003c/a>, on the red carpet. And it's looking like Leo is on track to finally (FINALLY!) get the Oscar he has been chasing so desperately.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-12414-1389890809-8.gif\" rel=\"attachment wp-att-19891\">\u003cimg class=\"aligncenter size-full wp-image-19891\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-12414-1389890809-8.gif\" alt=\"leo oscar meme\" width=\"400\" height=\"227\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Best Picture:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Big Short\u003cbr>\n\u003c/em>\u003cem>Bridge of Spies\u003cbr>\n\u003c/em>\u003cem>Brooklyn\u003cbr>\n\u003c/em>\u003cem>Mad Max: Fury Road\u003cbr>\n\u003c/em>\u003cem>The Martian\u003cbr>\n\u003c/em>\u003cem>The Revenant\u003cbr>\n\u003c/em>\u003cem>Room\u003cbr>\n\u003c/em>\u003cem>Spotlight\u003c/em>\u003c/p>\n\u003cp>For the second year in a row, the Academy only went with eight picks for best picture (they usually go for nine out of the possible ten), which doesn’t exactly send a positive message about the state of the film industry. No \u003cem>Straight Outta Compton \u003c/em>because there are black people in that. No \u003cem>Carol\u003c/em>, despite nomination-worthy performances from Blanchett and Mara. No \u003cem>Inside Out\u003c/em> or \u003cem>Star Wars: The Force Awakens\u003c/em> because I guess they don't care if anyone watches the ceremony? Academy voters, when asked what goes into their decision making: ¯\\_(ツ)_/¯\u003c/p>\n\u003cp>\u003cstrong>Best Director:\u003c/strong>\u003c/p>\n\u003cp>Adam McKay\u003cem> (The Big Short)\u003cbr>\n\u003c/em>George Miller\u003cem> (Mad Max: Fury Road)\u003cbr>\n\u003c/em>Alejandro González Iñárritu (\u003cem>The Revenant)\u003cbr>\n\u003c/em>Lenny Abrahamson\u003cem> (Room)\u003cbr>\n\u003c/em>Tom McCarthy\u003cem> (Spotlight)\u003c/em>\u003c/p>\n\u003cp>Abrahamson's inclusion is stunning some people this morning. Somewhere out there, in three separate mansions, Ridley Scott (\u003cem>The Martian\u003c/em>), Steven Spielberg (\u003cem>Bridge of Spies\u003c/em>) and Todd Haynes (\u003cem>Carol\u003c/em>) are all shaking their fists.\u003c/p>\n\u003cp>\u003cstrong>Best Original Song:\u003c/strong>\u003c/p>\n\u003cp>\"Earned It\" (\u003cem>Fifty Shades of Grey)\u003cbr>\n\u003c/em>\"Manta Ray\" (\u003cem>Racing Extinction)\u003cbr>\n\u003c/em>Simple Song #3\" (\u003cem>Youth)\u003cbr>\n\u003c/em>\"Til It Happens To You\" (\u003cem>The Hunting Ground)\u003cbr>\n\u003c/em>\"Writing's On The Wall\" (\u003cem>Spectre)\u003c/em>\u003c/p>\n\u003cp>Many expected \"See You Again\" from \u003cem>Furious 7\u003c/em> to make this list. Apparently, we don't yet deserve a world in which Wiz Khalifa wins an Oscar. Instead we get Sam Smith for his predictable Bond song, the Weeknd for a song from the Razzie-nominated \u003cem>Fifty Shades of Grey\u003c/em>, and Lady Gaga? We are all Leo, the Academy is Gaga:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/leo.gif\" rel=\"attachment wp-att-19892\">\u003cimg class=\"aligncenter size-full wp-image-19892\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/leo.gif\" alt=\"leo\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Okay, that’s enough outrage for one post. Check out \u003ca href=\"http://oscar.go.com/nominees\">the full list of nominees\u003c/a>. And tune in to the Oscars on February 28, 2016.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This morning at the ungodly hour of 5:30am, the Oscar nominations were unveiled. Last year, #OscarsSoWhite became a trending hashtag in the wake of all 20 actor contenders being white (\u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/01/the-oscars-havent-been-this-white-in-19-years/384550/\">the first time that happened since 1995\u003c/a>). If you thought the Academy would take a long, hard look at itself and make some changes, you would be wrong. This year, all 20 slots again were given to only white people. Maybe this could have something to do with the fact that Oscar voters are \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/03/oscar-voters-94-white-76-men-and-an-average-of-63-years-old/284163/\" target=\"_blank\">94% white, 76% men, and an average of 63 years old\u003c/a>. Yikes. Sigh. Ugh. Blergh. I can't seem to type out anything but one-word stand-ins for disgust so I'll let these tweets do the talking:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anyway, here’s how this year’s nominations shook out (if you even still give a damn):\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress:\u003c/strong>\u003c/p>\n\u003cp>Jennifer Jason Leigh (\u003cem>The Hateful Eight)\u003c/em>\u003cbr>\nRooney Mara (\u003cem>Carol)\u003c/em>\u003cbr>\nRachel McAdams (\u003cem>Spotlight)\u003c/em>\u003cbr>\nAlicia Vikander (\u003cem>The Danish Girl)\u003c/em>\u003cbr>\nKate Winslet (\u003cem>Steve Jobs)\u003c/em>\u003c/p>\n\u003cp>Major drama in this category because many are calling Mara and Vikander's supporting actor campaigns category fraud, as they are clearly leads in their respective movies. This opens the door for more BS Hollywood machinations in the years to come. At least they finally decided to give Rachel McAdams some love for her role as Regina George in \u003cem>Mean Girls\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/rs_500x259-151117115947-giphy_5.gif\" rel=\"attachment wp-att-19890\">\u003cimg class=\"aligncenter size-full wp-image-19890\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/rs_500x259-151117115947-giphy_5.gif\" alt=\"regina george mean girls\" width=\"500\" height=\"259\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor:\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>The Big Short)\u003c/em>\u003cbr>\nTom Hardy (\u003cem>The Revenant) \u003c/em>\u003cbr>\nMark Ruffalo (S\u003cem>potlight)\u003c/em>\u003cbr>\nMark Rylance (\u003cem>Bridge of Spies)\u003c/em>\u003cbr>\nSylvester Stallone (\u003cem>Creed)\u003c/em>\u003c/p>\n\u003cp>No, that's not a typo. Sylvester Stallone is nominated for an Oscar, 39 years after his first nom for \u003cem>Rocky\u003c/em>. Another less-amusing surprise is the lack of Idris Elba for \u003cem>Beasts of No Nation\u003c/em>, which contributed to this super duper white affair. Some also expected 9-year-old Jacob Tremblay from \u003cem>Room\u003c/em> to be in the mix. Silver lining: Tom Hardy's lips will be at the Oscars.\u003c/p>\n\u003cp>\u003cstrong>Best Actress:\u003c/strong>\u003c/p>\n\u003cp>Cate Blanchett (\u003cem>Carol)\u003c/em>\u003cbr>\nBrie Larson (\u003cem>Room)\u003c/em>\u003cbr>\nJennifer Lawrence (\u003cem>Joy)\u003c/em>\u003cbr>\nCharlotte Rampling (\u003cem>45 Years)\u003c/em>\u003cbr>\nSaoirse Ronan (\u003cem>Brooklyn)\u003c/em>\u003c/p>\n\u003cp>This makes 25-year-old Jennifer Lawrence the youngest actor to receive four nominations (Meryl didn't reach #4 until she was 33). Despite her Golden Globe win a few days ago, most didn't fully expect her to grab this nom because of the lukewarm feelings around \u003cem>Joy\u003c/em>. This will probably contribute to the \u003ca href=\"http://ww2.kqed.org/pop/2013/02/27/whats-our-problem-with-anne-hathaway/\" target=\"_blank\">Anne Hathaway-ing\u003c/a> Lawrence is experiencing right now, especially in the wake of that \u003ca href=\"http://www.ibtimes.com/jennifer-lawrence-blasted-being-rude-foreign-reporter-2016-golden-globes-video-2259065\" target=\"_blank\">cringe-worthy press room incident\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Best Actor: \u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>Trumbo)\u003c/em>\u003cbr>\nMatt Damon (\u003cem>The Martian)\u003c/em>\u003cbr>\nLeonardo DiCaprio (\u003cem>The Revenant)\u003c/em>\u003cbr>\nMichael Fassbender (\u003cem>Steve Jobs)\u003c/em>\u003cbr>\nEddie Redmayne (\u003cem>The Danish Girl)\u003c/em>\u003c/p>\n\u003cp>Matt Damon bumped out \u003cem>Creed\u003c/em>'s Michael B. Jordan and \u003cem>Black Mass\u003c/em>' Johnny Depp. There goes my super involved fantasy of Depp announcing that he's gotten back together with \u003ca href=\"https://33.media.tumblr.com/c332cc5844fbd4faaab25d3e3af174aa/tumblr_inline_npi436v3PT1t1qvrx_500.gif\" target=\"_blank\">the love of his life, Winona Ryder\u003c/a>, on the red carpet. And it's looking like Leo is on track to finally (FINALLY!) get the Oscar he has been chasing so desperately.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-12414-1389890809-8.gif\" rel=\"attachment wp-att-19891\">\u003cimg class=\"aligncenter size-full wp-image-19891\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/anigif_enhanced-buzz-12414-1389890809-8.gif\" alt=\"leo oscar meme\" width=\"400\" height=\"227\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Best Picture:\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Big Short\u003cbr>\n\u003c/em>\u003cem>Bridge of Spies\u003cbr>\n\u003c/em>\u003cem>Brooklyn\u003cbr>\n\u003c/em>\u003cem>Mad Max: Fury Road\u003cbr>\n\u003c/em>\u003cem>The Martian\u003cbr>\n\u003c/em>\u003cem>The Revenant\u003cbr>\n\u003c/em>\u003cem>Room\u003cbr>\n\u003c/em>\u003cem>Spotlight\u003c/em>\u003c/p>\n\u003cp>For the second year in a row, the Academy only went with eight picks for best picture (they usually go for nine out of the possible ten), which doesn’t exactly send a positive message about the state of the film industry. No \u003cem>Straight Outta Compton \u003c/em>because there are black people in that. No \u003cem>Carol\u003c/em>, despite nomination-worthy performances from Blanchett and Mara. No \u003cem>Inside Out\u003c/em> or \u003cem>Star Wars: The Force Awakens\u003c/em> because I guess they don't care if anyone watches the ceremony? Academy voters, when asked what goes into their decision making: ¯\\_(ツ)_/¯\u003c/p>\n\u003cp>\u003cstrong>Best Director:\u003c/strong>\u003c/p>\n\u003cp>Adam McKay\u003cem> (The Big Short)\u003cbr>\n\u003c/em>George Miller\u003cem> (Mad Max: Fury Road)\u003cbr>\n\u003c/em>Alejandro González Iñárritu (\u003cem>The Revenant)\u003cbr>\n\u003c/em>Lenny Abrahamson\u003cem> (Room)\u003cbr>\n\u003c/em>Tom McCarthy\u003cem> (Spotlight)\u003c/em>\u003c/p>\n\u003cp>Abrahamson's inclusion is stunning some people this morning. Somewhere out there, in three separate mansions, Ridley Scott (\u003cem>The Martian\u003c/em>), Steven Spielberg (\u003cem>Bridge of Spies\u003c/em>) and Todd Haynes (\u003cem>Carol\u003c/em>) are all shaking their fists.\u003c/p>\n\u003cp>\u003cstrong>Best Original Song:\u003c/strong>\u003c/p>\n\u003cp>\"Earned It\" (\u003cem>Fifty Shades of Grey)\u003cbr>\n\u003c/em>\"Manta Ray\" (\u003cem>Racing Extinction)\u003cbr>\n\u003c/em>Simple Song #3\" (\u003cem>Youth)\u003cbr>\n\u003c/em>\"Til It Happens To You\" (\u003cem>The Hunting Ground)\u003cbr>\n\u003c/em>\"Writing's On The Wall\" (\u003cem>Spectre)\u003c/em>\u003c/p>\n\u003cp>Many expected \"See You Again\" from \u003cem>Furious 7\u003c/em> to make this list. Apparently, we don't yet deserve a world in which Wiz Khalifa wins an Oscar. Instead we get Sam Smith for his predictable Bond song, the Weeknd for a song from the Razzie-nominated \u003cem>Fifty Shades of Grey\u003c/em>, and Lady Gaga? We are all Leo, the Academy is Gaga:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/leo.gif\" rel=\"attachment wp-att-19892\">\u003cimg class=\"aligncenter size-full wp-image-19892\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/leo.gif\" alt=\"leo\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Okay, that’s enough outrage for one post. Check out \u003ca href=\"http://oscar.go.com/nominees\">the full list of nominees\u003c/a>. And tune in to the Oscars on February 28, 2016.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fifty Shades of Grey\u003c/em> is all tied up with \u003cem>Pixels\u003c/em>, \u003cem>Jupiter Ascending\u003c/em> and \u003cem>Paul Blart Mall Cop 2\u003c/em> for the most nominations at this year’s Golden Raspberry Awards celebrating the worst in cinema.\u003c/p>\n\u003cp>The films led the Razzies lineup Wednesday with six nods each, including worst picture and worst actor for Jamie Dornan in the sexy thriller \u003cem>Fifty Shades of Grey\u003c/em>, Kevin James in the comedy sequel \u003cem>Paul Blart Mall Cop 2\u003c/em>, Channing Tatum in the sci-fi film \u003cem>Jupiter Ascending\u003c/em> and Adam Sandler in the video game mash-up \u003cem>Pixels\u003c/em> and fantasy-comedy \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>The other worst picture nominee is the superhero flop \u003cem>Fantastic Four\u003c/em>, which is also up for worst remake, screen combo, director for Josh Trank and screenplay for Simon Kinberg, Jeremy Slater and Trank.\u003c/p>\n\u003cp>The announcement of the Razzies, which launched in 1980 as a spoof of Hollywood’s awards season, comes ahead of Thursday’s Oscar nominations.\u003c/p>\n\u003cp>The “winners” for the 36th annual Razzies will be announced Feb. 27, the night before the 88th annual Academy Awards. They will be selected by 900 voting members from 47 states in the United States and 21 foreign countries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While far less star-studded than other award shows, past recipients such as Halle Berry and Sandra Bullock, have actually shown up in person to claim their gold spray-painted prizes.\u003c/p>\n\u003cp>\u003cstrong>The complete list 36th annual Razzie nominations:\u003c/strong>\u003c/p>\n\u003cp>— Worst picture: \u003cem>Fantastic Four\u003c/em>, \u003cem>Fifty Shades of Grey\u003c/em>, \u003cem>Jupiter Ascending\u003c/em>, \u003cem>Paul Blart Mall Cop 2\u003c/em>, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Worst actor: Johnny Depp, \u003cem>Mortdecai\u003c/em>; Jamie Dornan, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler, \u003cem>The Cobbler\u003c/em> and \u003cem>Pixels\u003c/em>; Channing Tatum, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst actress: Katherine Heigl, \u003cem>Home Sweet Hell\u003c/em>; Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Mila Kunis, \u003cem>Jupiter Ascending\u003c/em>; Jennifer Lopez, \u003cem>The Boy Next Door\u003c/em>; Gwyneth Paltrow, \u003cem>Mortdecai\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actor: Chevy Chase, \u003cem>Hot Tub Time Machine 2\u003c/em> and \u003cem>Vacation\u003c/em>; Josh Gad, \u003cem>Pixels\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Kevin James, \u003cem>Pixels\u003c/em>; Jason Lee, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em>; Eddie Redmayne, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actress: Kaley Cuoco-Sweeting, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Rooney Mara, \u003cem>Pan\u003c/em>; Michelle Monaghan, \u003cem>Pixels\u003c/em>; Julianne Moore, \u003cem>Seventh Son\u003c/em>; Amanda Seyfried, \u003cem>Love the Coopers\u003c/em> and \u003cem>Pan\u003c/em>.\u003c/p>\n\u003cp>— Worst remake or sequel: \u003cem>Alvin and The Chipmunks: The Road Chip\u003c/em>; \u003cem>Fantastic Four\u003c/em>; \u003cem>Hot Tub Time Machine 2\u003c/em>; \u003cem>Human Centipede 3\u003c/em>; \u003cem>Paul Blart Mall Cop 2\u003c/em>.\u003c/p>\n\u003cp>— Worst screen combo: Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell, \u003cem>Fantastic Four\u003c/em>; Johnny Depp and his glued-on mustache, \u003cem>Mortdecai\u003c/em>; Jamie Dornan and Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James and either his Segway or glued-on mustache, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler and any pair of shoes, \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>— Worst director: Andy Fickman, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tom Six, \u003cem>Human Centipede 3\u003c/em>; Sam Taylor-Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Josh Trank, \u003cem>Fantastic Four\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst screenplay: Simon Kinberg, Jeremy Slater and Josh Trank, \u003cem>Fantastic Four\u003c/em>; Kelly Marcel, \u003cem>Fifty Shades of Grey\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>; Kevin James and Nick Bakay, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tim Herlihy and Timothy Dowling, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Razzies redeemer award: Elizabeth Banks, M. Night Shyamalan, Will Smith and Sylvester Stallone.\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": "Fifty Shades of Grey is all tied up with Pixels, Jupiter Ascending and Paul Blart Mall Cop 2 for the most nominations at this year's Golden Raspberry Awards celebrating the worst in cinema. The films led the Razzies lineup Wednesday with six nods each, including worst picture and worst actor for Jamie Dornan in the sexy thriller Fifty Shades of Grey, Kevin James in the comedy sequel Paul Blart Mall Cop 2, Channing Tatum in the sci-fi film Jupiter Ascending and Adam Sandler in the video game mash-up Pixels and fantasy-comedy The Cobbler. The other worst picture nominee is the",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While far less star-studded than other award shows, past recipients such as Halle Berry and Sandra Bullock, have actually shown up in person to claim their gold spray-painted prizes.\u003c/p>\n\u003cp>\u003cstrong>The complete list 36th annual Razzie nominations:\u003c/strong>\u003c/p>\n\u003cp>— Worst picture: \u003cem>Fantastic Four\u003c/em>, \u003cem>Fifty Shades of Grey\u003c/em>, \u003cem>Jupiter Ascending\u003c/em>, \u003cem>Paul Blart Mall Cop 2\u003c/em>, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Worst actor: Johnny Depp, \u003cem>Mortdecai\u003c/em>; Jamie Dornan, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler, \u003cem>The Cobbler\u003c/em> and \u003cem>Pixels\u003c/em>; Channing Tatum, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst actress: Katherine Heigl, \u003cem>Home Sweet Hell\u003c/em>; Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Mila Kunis, \u003cem>Jupiter Ascending\u003c/em>; Jennifer Lopez, \u003cem>The Boy Next Door\u003c/em>; Gwyneth Paltrow, \u003cem>Mortdecai\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actor: Chevy Chase, \u003cem>Hot Tub Time Machine 2\u003c/em> and \u003cem>Vacation\u003c/em>; Josh Gad, \u003cem>Pixels\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Kevin James, \u003cem>Pixels\u003c/em>; Jason Lee, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em>; Eddie Redmayne, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst supporting actress: Kaley Cuoco-Sweeting, \u003cem>Alvin and the Chipmunks: Road Chip\u003c/em> and \u003cem>The Wedding Ringer\u003c/em>; Rooney Mara, \u003cem>Pan\u003c/em>; Michelle Monaghan, \u003cem>Pixels\u003c/em>; Julianne Moore, \u003cem>Seventh Son\u003c/em>; Amanda Seyfried, \u003cem>Love the Coopers\u003c/em> and \u003cem>Pan\u003c/em>.\u003c/p>\n\u003cp>— Worst remake or sequel: \u003cem>Alvin and The Chipmunks: The Road Chip\u003c/em>; \u003cem>Fantastic Four\u003c/em>; \u003cem>Hot Tub Time Machine 2\u003c/em>; \u003cem>Human Centipede 3\u003c/em>; \u003cem>Paul Blart Mall Cop 2\u003c/em>.\u003c/p>\n\u003cp>— Worst screen combo: Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell, \u003cem>Fantastic Four\u003c/em>; Johnny Depp and his glued-on mustache, \u003cem>Mortdecai\u003c/em>; Jamie Dornan and Dakota Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Kevin James and either his Segway or glued-on mustache, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Adam Sandler and any pair of shoes, \u003cem>The Cobbler\u003c/em>.\u003c/p>\n\u003cp>— Worst director: Andy Fickman, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tom Six, \u003cem>Human Centipede 3\u003c/em>; Sam Taylor-Johnson, \u003cem>Fifty Shades of Grey\u003c/em>; Josh Trank, \u003cem>Fantastic Four\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>.\u003c/p>\n\u003cp>— Worst screenplay: Simon Kinberg, Jeremy Slater and Josh Trank, \u003cem>Fantastic Four\u003c/em>; Kelly Marcel, \u003cem>Fifty Shades of Grey\u003c/em>; Andy and Lana Wachowski, \u003cem>Jupiter Ascending\u003c/em>; Kevin James and Nick Bakay, \u003cem>Paul Blart Mall Cop 2\u003c/em>; Tim Herlihy and Timothy Dowling, \u003cem>Pixels\u003c/em>.\u003c/p>\n\u003cp>— Razzies redeemer award: Elizabeth Banks, M. Night Shyamalan, Will Smith and Sylvester Stallone.\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>So you’ve spent a good 36 hours listening to David Bowie, reading tributes to the man, maybe silently weeping a bit. What to do now?\u003c/p>\n\u003cp>Get out of your house. No, really. Starman would want us to dress up, to pour on the body glitter, to dance, to get weird. Luckily, there are plenty of places to do that in the coming week — and, just like Bowie would have wanted, they’re all $20 and under. Throw in some comedy, a legendary hip-hop crew, and local psych-rock, and you’ve got yourself a solid \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: A Celebration of the Life and Music of David Bowie ft. the First Church of the Sacred Silversexual at Slim’s, SF. \u003c/strong>If you’ve gotta be anywhere in the U.S. when a beloved queer icon like Bowie dies, San Francisco is a damn good place to be. Case in point: We have a fully-fledged Bowie-based cabaret/tribute band/glitter party at the ready. For the uninitiated, I’m talking about the \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual\u003c/a>, who’ll be holding court at this sure-to-be-emotional (and sparkly) bash. $10; \u003ca href=\"http://www.slimspresents.com/event/celebrating-the-life-and-art-of-david-bowie-w-the-first-church-of-the-sacred-silversexual-slims/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9G4jnaznUoQ\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: The David Bowie Music Video Celebration at the New Mission (Alamo Drafthouse), SF. \u003c/strong>This event is exactly what it sounds like. Check out this swanky new movie theater (which includes a full bar and a menu full of upscale comfort food) while grooving to the icon’s finest contributions to the audio-visual genre. Because no matter how many times I watch this bizarre, coked-out rendition of “Dancing In the Street,” seeing it on the big screen would be something else entirely. \u003ca href=\"https://drafthouse.com/sf/show/david-bowie-memorial-sing-along\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: Sketchfest Nightlife at the Cal Academy of Sciences, SF. \u003c/strong>What’s better than hundreds of comics pouring into San Francisco for a two-week-long festival of stand up, podcasts, performance, and general riffage? Sequestering a bunch of ’em in a science museum, then adding cocktails. Check out “Fake Ted Talks” with Adam Savage from \u003cem>Mythbusters\u003c/em>; movie riffing with original members of the \u003cem>Mystery Science Theater 3000\u003c/em> cast; “Competitive Erotic Fan Fiction” with Kevin Allison of \u003cem>The State \u003c/em>and the RISK! podcast; and more. $15; \u003ca href=\"https://www.calacademy.org/nightlife/sketchfest-nightlife\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u1dVx4Pfd0c\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14: Dead Prez at the Catalyst, Santa Cruz. \u003c/strong>Social and political activism have been intrinsically connected to hip-hop since the genre’s earliest moments — but few and far between are acts committed to their ideals as Dead Prez. Anti-racist, anti-capitalist, and surely anti-major label, the East Coast’s answer to the Coup is still going strong some 20 years after their start. $20; \u003ca href=\"http://www.catalystclub.com/event/1015201-dead-prez-santa-cruz/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14 – Saturday, Jan. 15: ‘The Labyrinth’ at The New Parkway, Oakland. \u003c/strong>Admit it: For many of us, before Bowie was a rock god, he was the Goblin King — just a regular dude who wore really tight leather pants and hung out with Muppets, kidnapping a human baby now and then for fun. If it sounds terrifying that’s because it is; it’s also one of the coolest “kids’ movies” ever made. $8; \u003ca href=\"http://brownpapertickets.com/event/2489323\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a_UL2gYVSZ4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 15: Kelley Stoltz at The Chapel, SF. \u003c/strong>You might not know Kelley Stoltz’s name, but if you follow the Bay Area indie-psych/garage scene at all, he’s likely been involved in one of your favorite records. (To wit: his most recent recorded output was under the pseudonym Willie Weird.) No matter what you call him, you won’t regret taking the chance to see him play to a hometown crowd. $15; \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So you’ve spent a good 36 hours listening to David Bowie, reading tributes to the man, maybe silently weeping a bit. What to do now?\u003c/p>\n\u003cp>Get out of your house. No, really. Starman would want us to dress up, to pour on the body glitter, to dance, to get weird. Luckily, there are plenty of places to do that in the coming week — and, just like Bowie would have wanted, they’re all $20 and under. Throw in some comedy, a legendary hip-hop crew, and local psych-rock, and you’ve got yourself a solid \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: A Celebration of the Life and Music of David Bowie ft. the First Church of the Sacred Silversexual at Slim’s, SF. \u003c/strong>If you’ve gotta be anywhere in the U.S. when a beloved queer icon like Bowie dies, San Francisco is a damn good place to be. Case in point: We have a fully-fledged Bowie-based cabaret/tribute band/glitter party at the ready. For the uninitiated, I’m talking about the \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual\u003c/a>, who’ll be holding court at this sure-to-be-emotional (and sparkly) bash. $10; \u003ca href=\"http://www.slimspresents.com/event/celebrating-the-life-and-art-of-david-bowie-w-the-first-church-of-the-sacred-silversexual-slims/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\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/9G4jnaznUoQ'\n title='//www.youtube.com/embed/9G4jnaznUoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Thursday, Jan. 14: The David Bowie Music Video Celebration at the New Mission (Alamo Drafthouse), SF. \u003c/strong>This event is exactly what it sounds like. Check out this swanky new movie theater (which includes a full bar and a menu full of upscale comfort food) while grooving to the icon’s finest contributions to the audio-visual genre. Because no matter how many times I watch this bizarre, coked-out rendition of “Dancing In the Street,” seeing it on the big screen would be something else entirely. \u003ca href=\"https://drafthouse.com/sf/show/david-bowie-memorial-sing-along\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: Sketchfest Nightlife at the Cal Academy of Sciences, SF. \u003c/strong>What’s better than hundreds of comics pouring into San Francisco for a two-week-long festival of stand up, podcasts, performance, and general riffage? Sequestering a bunch of ’em in a science museum, then adding cocktails. Check out “Fake Ted Talks” with Adam Savage from \u003cem>Mythbusters\u003c/em>; movie riffing with original members of the \u003cem>Mystery Science Theater 3000\u003c/em> cast; “Competitive Erotic Fan Fiction” with Kevin Allison of \u003cem>The State \u003c/em>and the RISK! podcast; and more. $15; \u003ca href=\"https://www.calacademy.org/nightlife/sketchfest-nightlife\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\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/u1dVx4Pfd0c'\n title='//www.youtube.com/embed/u1dVx4Pfd0c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Jan. 14: Dead Prez at the Catalyst, Santa Cruz. \u003c/strong>Social and political activism have been intrinsically connected to hip-hop since the genre’s earliest moments — but few and far between are acts committed to their ideals as Dead Prez. Anti-racist, anti-capitalist, and surely anti-major label, the East Coast’s answer to the Coup is still going strong some 20 years after their start. $20; \u003ca href=\"http://www.catalystclub.com/event/1015201-dead-prez-santa-cruz/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14 – Saturday, Jan. 15: ‘The Labyrinth’ at The New Parkway, Oakland. \u003c/strong>Admit it: For many of us, before Bowie was a rock god, he was the Goblin King — just a regular dude who wore really tight leather pants and hung out with Muppets, kidnapping a human baby now and then for fun. If it sounds terrifying that’s because it is; it’s also one of the coolest “kids’ movies” ever made. $8; \u003ca href=\"http://brownpapertickets.com/event/2489323\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\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/a_UL2gYVSZ4'\n title='//www.youtube.com/embed/a_UL2gYVSZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 15: Kelley Stoltz at The Chapel, SF. \u003c/strong>You might not know Kelley Stoltz’s name, but if you follow the Bay Area indie-psych/garage scene at all, he’s likely been involved in one of your favorite records. (To wit: his most recent recorded output was under the pseudonym Willie Weird.) No matter what you call him, you won’t regret taking the chance to see him play to a hometown crowd. $15; \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Creed \u003c/em>helmer Ryan Coogler is set to direct Marvel and Disney’s \u003cem>Black Panther\u003c/em> movie, the studio announced on Monday.\u003c/p>\n\u003cp>Chadwick Boseman has already been cast as the lead character, who will make his first appearance in May’s \u003cem>Captain America: Civil War\u003c/em>. The \u003cem>Black Panther\u003c/em> film, set for a release in February 2018, marks the first time a major Marvel Studios film will focus primarily on a black superhero.\u003c/p>\n\u003cp>There was much speculation surrounding who would take on the directing job. Ava DuVernay earlier this year passed on the film. Coogler was another favorite choice among fans.\u003c/p>\n\u003cp>The 29-year-old director gained widespread recognition for his Sundance breakout \u003cem>Fruitvale Station\u003c/em> and this year has been making waves with \u003cem>Creed\u003c/em>, a continuation of the Rocky Balboa franchise focused on Apollo Creed’s son.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Creed \u003c/em>helmer Ryan Coogler is set to direct Marvel and Disney’s \u003cem>Black Panther\u003c/em> movie, the studio announced on Monday.\u003c/p>\n\u003cp>Chadwick Boseman has already been cast as the lead character, who will make his first appearance in May’s \u003cem>Captain America: Civil War\u003c/em>. The \u003cem>Black Panther\u003c/em> film, set for a release in February 2018, marks the first time a major Marvel Studios film will focus primarily on a black superhero.\u003c/p>\n\u003cp>There was much speculation surrounding who would take on the directing job. Ava DuVernay earlier this year passed on the film. Coogler was another favorite choice among fans.\u003c/p>\n\u003cp>The 29-year-old director gained widespread recognition for his Sundance breakout \u003cem>Fruitvale Station\u003c/em> and this year has been making waves with \u003cem>Creed\u003c/em>, a continuation of the Rocky Balboa franchise focused on Apollo Creed’s son.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>By now, you've heard that the eclectic wonder David Bowie has passed at the age of 69. You've probably spent all morning listening to his music and talking about his impact with your coworkers. And you're probably planning on watching \u003cem>Labyrinth\u003c/em> after work. But who says you have to wait?\u003c/p>\n\u003cp>A kind YouTube user by the name of \u003ca class=\"yt-uix-sessionlink g-hovercard spf-link \" href=\"https://www.youtube.com/channel/UC7G1sxMxMnmXy7Pi_SviO_A\">Lenora1854\u003c/a> has generously compiled all the Jareth scenes from the 1986 film. So dance, magic, dance. Jump, magic, jump. Put that baby spell on [your boss so they won't give you any guff for spending the next 20 minutes glued to the Goblin King]:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ofRJwYWHriM\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ckf-VelLbxg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v3JQf-WTLo8\u003c/p>\n\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHBijKSOI8U\u003c/p>\n\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\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/SHBijKSOI8U'\n title='//www.youtube.com/embed/SHBijKSOI8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\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=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"excerpt": "View Briana Young's short film, \u003cb>Ladies of the Gridiron\u003c/b>, which needles into the huddle for a full-impact look at one of the final frontiers of gender equality: women's tackle football.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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