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"content": "\u003cp>\u003cem>Mustang\u003c/em>, the first feature-length film from Turkish-French director Deniz Gamze Ergüven, at first glance resembles Sofia Coppola’s \u003cem>The Virgin Suicides\u003c/em>, set on the coast of rural Turkey instead of suburban Grosse Pointe, Michigan. Both films feature five sisters (\u003cem>Virgin\u003c/em>’s all-American blondes traded for \u003cem>Mustang\u003c/em>’s Middle Eastern brunettes) whose social isolation and enforced confinement incite rebellions.\u003c/p>\n\u003cp>2015 also saw the release of \u003cem>Room\u003c/em>, starring Brie Larson, and the Netflix series \u003cem>Unbreakable Kimmy Schmidt\u003c/em>. Both feature young women who find their way to freedom after being held physically and psychologically captive by men. Why is this theme, one in which a man maintains control over women through some form of containment, a recurring one?\u003c/p>\n\u003cp>https://youtu.be/r_JXyi1EGJk\u003c/p>\n\u003cp>During the Q&A after a recent screening of her film in Los Angeles, Ergüven responded to a comment from the moderator by saying, “How frightening girls and women could be for men: they are so free, so exuberant, so wild. There’s something that you can’t hold, that you can’t control. It’s so much easier to constrain women than make them fall in love with you.” \u003c/p>\n\u003cp>Men use rage to intimidate and dominate whereas female rage, when it is unleashed, is a force of resistance. At least that’s how Lale (played by Günes Sensoy), the youngest sister in Ergüven’s film, begins to challenge the fate her family has in store for her.\u003c/p>\n\u003cfigure id=\"attachment_11184837\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mustang640.jpg\" alt=\"Still from 'Mustang.'\" width=\"640\" height=\"296\" class=\"size-full wp-image-11184837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640-400x185.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Mustang.’ \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The five orphaned sisters in \u003ci>Mustang\u003c/i> live with their grandmother and uncle high up in the hill country. Their house overlooks the sea, and it’s in the waves on the shoreline below that the plot is set in motion. After school, the girls, whose approximate age range runs from Lale’s nine to the eldest at seventeen, walk home with a few boys their age. It’s hot out and they all decide to swim and play in the waves, fully-clothed in their uniforms. Ergüven captures the joy in that moment of youthful freedom. When the sisters’ purity is questioned for this expression of adolescent exuberance, they’re punished and locked inside the house like princesses in a fairy tale. \u003c/p>\n\u003cfigure id=\"attachment_11184841\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Director400.jpg\" alt=\"'Mustang' director Deniz Gamze Ergüven.\" width=\"400\" height=\"438\" class=\"size-full wp-image-11184841\">\u003cfigcaption class=\"wp-caption-text\">‘Mustang’ director Deniz Gamze Ergüven. \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director was deliberate in choosing this remote setting, “The fact that they were in this house, which is completely looking over the immensity of the sea, which is just in front of them, was extremely important. We could feel the freedom at the tip of their fingers, just behind those walls.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This imprisonment coincides with the first signs of their sexuality, and the only acceptable destination for that sexuality is arranged marriage. Otherwise, the girls’ virginity is at risk. Ergüven elaborated on this point, saying, “It’s impossible for a girl not to be a virgin. It still exists very widely, this idea of the importance of the virginity of a woman at the time of her marriage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marriage is the raison d’être of the American rom-com. In contrast, the tragedy of \u003cem>Mustang\u003c/em> is in watching the sisters separated from each other, trading one prison for another. Seeing Lale’s determination to escape the strictures of a patriarchal society brings to mind another radical female lead: Minnie from this summer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2015/08/13/diary-tells-a-coming-of-age-tale-rarely-seen-on-film/\">The Diary of a Teenage Girl\u003c/a>\u003c/em>. In that film, the character owns and enjoys her newfound sexuality. Like Minnie, Lale represents a new generation of girls who refuse to be punished for feeling joy. With this film, Ergüven creates a moving leap forward in the evolution of female self-determination.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Mustang\u003c/em>, the first feature-length film from Turkish-French director Deniz Gamze Ergüven, at first glance resembles Sofia Coppola’s \u003cem>The Virgin Suicides\u003c/em>, set on the coast of rural Turkey instead of suburban Grosse Pointe, Michigan. Both films feature five sisters (\u003cem>Virgin\u003c/em>’s all-American blondes traded for \u003cem>Mustang\u003c/em>’s Middle Eastern brunettes) whose social isolation and enforced confinement incite rebellions.\u003c/p>\n\u003cp>2015 also saw the release of \u003cem>Room\u003c/em>, starring Brie Larson, and the Netflix series \u003cem>Unbreakable Kimmy Schmidt\u003c/em>. Both feature young women who find their way to freedom after being held physically and psychologically captive by men. Why is this theme, one in which a man maintains control over women through some form of containment, a recurring one?\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/r_JXyi1EGJk'\n title='//www.youtube.com/embed/r_JXyi1EGJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During the Q&A after a recent screening of her film in Los Angeles, Ergüven responded to a comment from the moderator by saying, “How frightening girls and women could be for men: they are so free, so exuberant, so wild. There’s something that you can’t hold, that you can’t control. It’s so much easier to constrain women than make them fall in love with you.” \u003c/p>\n\u003cp>Men use rage to intimidate and dominate whereas female rage, when it is unleashed, is a force of resistance. At least that’s how Lale (played by Günes Sensoy), the youngest sister in Ergüven’s film, begins to challenge the fate her family has in store for her.\u003c/p>\n\u003cfigure id=\"attachment_11184837\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mustang640.jpg\" alt=\"Still from 'Mustang.'\" width=\"640\" height=\"296\" class=\"size-full wp-image-11184837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Mustang640-400x185.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Mustang.’ \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The five orphaned sisters in \u003ci>Mustang\u003c/i> live with their grandmother and uncle high up in the hill country. Their house overlooks the sea, and it’s in the waves on the shoreline below that the plot is set in motion. After school, the girls, whose approximate age range runs from Lale’s nine to the eldest at seventeen, walk home with a few boys their age. It’s hot out and they all decide to swim and play in the waves, fully-clothed in their uniforms. Ergüven captures the joy in that moment of youthful freedom. When the sisters’ purity is questioned for this expression of adolescent exuberance, they’re punished and locked inside the house like princesses in a fairy tale. \u003c/p>\n\u003cfigure id=\"attachment_11184841\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Director400.jpg\" alt=\"'Mustang' director Deniz Gamze Ergüven.\" width=\"400\" height=\"438\" class=\"size-full wp-image-11184841\">\u003cfigcaption class=\"wp-caption-text\">‘Mustang’ director Deniz Gamze Ergüven. \u003ccite>(Photo: Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The director was deliberate in choosing this remote setting, “The fact that they were in this house, which is completely looking over the immensity of the sea, which is just in front of them, was extremely important. We could feel the freedom at the tip of their fingers, just behind those walls.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This imprisonment coincides with the first signs of their sexuality, and the only acceptable destination for that sexuality is arranged marriage. Otherwise, the girls’ virginity is at risk. Ergüven elaborated on this point, saying, “It’s impossible for a girl not to be a virgin. It still exists very widely, this idea of the importance of the virginity of a woman at the time of her marriage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Marriage is the raison d’être of the American rom-com. In contrast, the tragedy of \u003cem>Mustang\u003c/em> is in watching the sisters separated from each other, trading one prison for another. Seeing Lale’s determination to escape the strictures of a patriarchal society brings to mind another radical female lead: Minnie from this summer’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2015/08/13/diary-tells-a-coming-of-age-tale-rarely-seen-on-film/\">The Diary of a Teenage Girl\u003c/a>\u003c/em>. In that film, the character owns and enjoys her newfound sexuality. Like Minnie, Lale represents a new generation of girls who refuse to be punished for feeling joy. With this film, Ergüven creates a moving leap forward in the evolution of female self-determination.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Alright, dear penny-pinchers: Hanukkah has come and gone, Christmas is almost upon us, and hopefully by now you’ve figured out how to make and/or purchase some gifts for your loved ones without forfeiting your lunch money for the next six months.\u003c/p>\n\u003cp>If, however, said shopping (or, you know, life in the most expensive metropolitan area in the United States) has left you feeling a little light in the bank account, it’s still entirely possible to get out and have fun this week. Bonus: Roughly half the city is gone!\u003c/p>\n\u003cp>If you’re among those of us still here — you might be a native or you might just not want to go home to Wisconsin — do yourself a favor and get out and enjoy it: These streets is ours. Here are six $20-and-under options, a.k.a. this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Christmas Eve: \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11184483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg\" alt=\"OIYC_HolidayConcert2014\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> (two shows) at Slim’s, SF. \u003c/strong>Joyful, raucous, rowdy, grin-inducing gospel music for everyone, regardless of denomination. 7 p.m., and 10 p.m., both $15; \u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">The Annual Krazy for Karaoke Holiday Party\u003c/a> at The Knockout, SF.\u003c/strong> “Screeching begins at 10 p.m.” So you have time to take in an early gospel show, then tear it up to “Love Is a Battlefield” or “Gin & Juice” a few hours later. \u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Christmas Day: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">Purple Rain\u003c/a>\u003c/em> at the New Parkway, Oakland.\u003c/strong> Because nothing says “holiday spirit” like watching Prince, at his prime, fight (with concert sequences!) for his deserved stardom — and his girl. $8; \u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AuXK8ZbTmLk\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Jewish Christmas\u003c/a> at the Make Out Room, SF. \u003c/strong>Standup comedy, strip dreidel, live music, and a neverending stream of films by Woody Allen, Larry David, and Sascha Baron Cohen — and Chinese food, of course. What, you want we should starve? $5 – $10; \u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 26: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\">Monophonics\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>One of the Bay Area’s best-loved funk-soul acts proudly carries a torch passed down by the likes of Parliament-Funkadelic and Sly & the Family Stone. $20 in advance;\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nPpdgcERNAU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\">Mother: Nightmare After Christmas\u003c/a>,\u003c/em> a Tim Burton tribute night at Oasis, SF. \u003c/strong>You read all about local drag legend \u003ca href=\"http://ww2.kqed.org/arts/2015/12/14/drag-legend-heklina-on-glamour-realness-and-the-work-that-goes-unseen/\" target=\"_blank\" rel=\"noopener\">Heklina in last week’s Backstage Heroes\u003c/a> — why not visit her club for yourself, especially on night that promises campy dance routines of the most gleefully weird variety? $10;\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/AQXVHITd1N4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alright, dear penny-pinchers: Hanukkah has come and gone, Christmas is almost upon us, and hopefully by now you’ve figured out how to make and/or purchase some gifts for your loved ones without forfeiting your lunch money for the next six months.\u003c/p>\n\u003cp>If, however, said shopping (or, you know, life in the most expensive metropolitan area in the United States) has left you feeling a little light in the bank account, it’s still entirely possible to get out and have fun this week. Bonus: Roughly half the city is gone!\u003c/p>\n\u003cp>If you’re among those of us still here — you might be a native or you might just not want to go home to Wisconsin — do yourself a favor and get out and enjoy it: These streets is ours. Here are six $20-and-under options, a.k.a. this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Christmas Eve: \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11184483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg\" alt=\"OIYC_HolidayConcert2014\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> (two shows) at Slim’s, SF. \u003c/strong>Joyful, raucous, rowdy, grin-inducing gospel music for everyone, regardless of denomination. 7 p.m., and 10 p.m., both $15; \u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you're anything like me, you've probably tuned out most Election 2016 polling data. But a recent troll-tastic \u003ca href=\"http://www.publicpolicypolling.com/pdf/2015/GOPResults.pdf\" target=\"_blank\">Public Policy Polling survey\u003c/a> got my attention. Apparently 30% of Republicans want to bomb Agrabah, Aladdin's fictional hometown.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-5.gif\" rel=\"attachment wp-att-19541\">\u003cimg class=\"aligncenter size-full wp-image-19541\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-5.gif\" alt=\"jasmine aladdin gif\" width=\"245\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>But stupidity is not just a symptom of one party: 19% of Democrats are also down to devastate a made-up land known for cute monkey sidekicks and sensual man vests.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-7.gif\" rel=\"attachment wp-att-19550\">\u003cimg class=\"aligncenter size-full wp-image-19550\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-7.gif\" alt=\"jasmine raja\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>There are two major takeaways from this poll:\u003c/p>\n\u003col>\n\u003cli>Reading comprehension is at an all-time low.\u003c/li>\n\u003cli>Jafar sympathizers are among us.\u003c/li>\n\u003c/ol>\n\u003cp>I'll speak for all rational, literate human beings when I say: #WeAreAllAbu!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/Aladdin-aladdin-24849018-500-281.gif\" rel=\"attachment wp-att-19542\">\u003cimg class=\"aligncenter size-full wp-image-19542\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/Aladdin-aladdin-24849018-500-281.gif\" alt=\"Aladdin-aladdin-24849018-500-281\" width=\"500\" height=\"281\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/3593_aladdin-disney-angry-hungry-abu.gif\" rel=\"attachment wp-att-19545\">\u003cimg class=\"aligncenter size-full wp-image-19545\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/3593_aladdin-disney-angry-hungry-abu.gif\" alt=\"3593_aladdin-disney-angry-hungry-abu\" width=\"500\" height=\"297\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/02-smile-abu.gif\" rel=\"attachment wp-att-19549\">\u003cimg class=\"aligncenter size-full wp-image-19549\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/02-smile-abu.gif\" alt=\"02-smile-abu\" width=\"658\" height=\"394\">\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you're anything like me, you've probably tuned out most Election 2016 polling data. But a recent troll-tastic \u003ca href=\"http://www.publicpolicypolling.com/pdf/2015/GOPResults.pdf\" target=\"_blank\">Public Policy Polling survey\u003c/a> got my attention. Apparently 30% of Republicans want to bomb Agrabah, Aladdin's fictional hometown.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-5.gif\" rel=\"attachment wp-att-19541\">\u003cimg class=\"aligncenter size-full wp-image-19541\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-5.gif\" alt=\"jasmine aladdin gif\" width=\"245\" height=\"210\">\u003c/a>\u003c/p>\n\u003cp>But stupidity is not just a symptom of one party: 19% of Democrats are also down to devastate a made-up land known for cute monkey sidekicks and sensual man vests.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-7.gif\" rel=\"attachment wp-att-19550\">\u003cimg class=\"aligncenter size-full wp-image-19550\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/giphy-7.gif\" alt=\"jasmine raja\" width=\"500\" height=\"250\">\u003c/a>\u003c/p>\n\u003cp>There are two major takeaways from this poll:\u003c/p>\n\u003col>\n\u003cli>Reading comprehension is at an all-time low.\u003c/li>\n\u003cli>Jafar sympathizers are among us.\u003c/li>\n\u003c/ol>\n\u003cp>I'll speak for all rational, literate human beings when I say: #WeAreAllAbu!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last weekend, I was at a small holiday shindig of thirty-somethings, the kind where there's often a movie on in the background but few people are actually paying attention -- there's also music and food and alcohol, after all.\u003c/p>\n\u003cp>This all changed when a friend hit play on \u003cem>Home Alone\u003c/em>. We crept over. We sat. We quieted down.\u003c/p>\n\u003cp>\u003cem>Home Alone\u003c/em> is not just a movie. When it hit theaters in 1990, for a certain generation, it was as though someone had reached directly into your brain, catalogued your sublimated elementary school-age fears, dreams and desires, and molded them into a blockbuster holiday release with a memorable cameo from John Candy. Kids love to fantasize about chances to display their independence, no matter how improbable (see: the cabal of 11- to 13-year-old girls running a successful, sophisticated business at the center of \u003cem>The Babysitters Club\u003c/em> series). They long for opportunities to prove they're not afraid of anything. Problem is, they're generally afraid of lots of things. Like, say, the radiator.\u003c/p>\n\u003cp>I only mention this severely emotional attachment to the film as a preface because -- intensely warm, spiced, jingle-bell-soundtracked feelings aside -- what jumped out at me upon viewing the entirety of \u003cem>Home Alone\u003c/em> for the first time in roughly a decade is how incredibly \u003cem>dark\u003c/em> it is. In an excellent \u003ca href=\"http://www.chicagomag.com/Chicago-Magazine/December-2015/Home-Alone/\" target=\"_blank\">oral history of the movie for \u003cem>Chicago\u003c/em> magazine\u003c/a>, filmmaker John Hughes recalls taking special care to make the violence cartoonlike, because otherwise the facts of the plot -- after a child is abandoned by his family, two adult petty criminals become obsessed with trying to break into his home and, soon after, with causing the child some awful yet unarticulated bodily harm -- do not a feel-good movie make.\u003c/p>\n\u003cp>It's a darkness that was not lost on Macaulay Culkin, apparently. Witness, below, a universe in which Kevin McCallister was scarred for life by the events of that eventful Christmas (as he probably would be, were the character real). Here we see him moonlighting as an employee (\u003ca href=\"http://ww2.kqed.org/news/2015/12/10/uber-drivers-class-action-lawsuit-expanded\" target=\"_blank\">contractor?\u003c/a>) for some kind of rideshare company; he's in a terrifically unhealthy relationship and wants only to act out, repeating the cycle of abuse in which he was an unwitting victim so many years ago. One could also read the entire narrative as a thinly-veiled metaphor for the myriad ways the eternally hungry yet fickle Hollywood fame machine chewed up and spit out this particular former child actor and friend of Michael Jackson's. Or not.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In any event, this concept has been brought to you by Jack Dishel of the Moldy Peaches apparently having a new webseries, plus Macaulay Culkin's abundance of free time now that the whole \u003ca href=\"http://www.sfweekly.com/shookdown/2014/03/06/i-went-to-see-macaulay-culkins-pizza-underground-band-and-it-was-cold-and-soggy-3-5-13\" target=\"_blank\">Pizza Underground thing\u003c/a> has seemingly (thankfully) petered out. Merry Christmas!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yh7-wAy_8ss\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last weekend, I was at a small holiday shindig of thirty-somethings, the kind where there's often a movie on in the background but few people are actually paying attention -- there's also music and food and alcohol, after all.\u003c/p>\n\u003cp>This all changed when a friend hit play on \u003cem>Home Alone\u003c/em>. We crept over. We sat. We quieted down.\u003c/p>\n\u003cp>\u003cem>Home Alone\u003c/em> is not just a movie. When it hit theaters in 1990, for a certain generation, it was as though someone had reached directly into your brain, catalogued your sublimated elementary school-age fears, dreams and desires, and molded them into a blockbuster holiday release with a memorable cameo from John Candy. Kids love to fantasize about chances to display their independence, no matter how improbable (see: the cabal of 11- to 13-year-old girls running a successful, sophisticated business at the center of \u003cem>The Babysitters Club\u003c/em> series). They long for opportunities to prove they're not afraid of anything. Problem is, they're generally afraid of lots of things. Like, say, the radiator.\u003c/p>\n\u003cp>I only mention this severely emotional attachment to the film as a preface because -- intensely warm, spiced, jingle-bell-soundtracked feelings aside -- what jumped out at me upon viewing the entirety of \u003cem>Home Alone\u003c/em> for the first time in roughly a decade is how incredibly \u003cem>dark\u003c/em> it is. In an excellent \u003ca href=\"http://www.chicagomag.com/Chicago-Magazine/December-2015/Home-Alone/\" target=\"_blank\">oral history of the movie for \u003cem>Chicago\u003c/em> magazine\u003c/a>, filmmaker John Hughes recalls taking special care to make the violence cartoonlike, because otherwise the facts of the plot -- after a child is abandoned by his family, two adult petty criminals become obsessed with trying to break into his home and, soon after, with causing the child some awful yet unarticulated bodily harm -- do not a feel-good movie make.\u003c/p>\n\u003cp>It's a darkness that was not lost on Macaulay Culkin, apparently. Witness, below, a universe in which Kevin McCallister was scarred for life by the events of that eventful Christmas (as he probably would be, were the character real). Here we see him moonlighting as an employee (\u003ca href=\"http://ww2.kqed.org/news/2015/12/10/uber-drivers-class-action-lawsuit-expanded\" target=\"_blank\">contractor?\u003c/a>) for some kind of rideshare company; he's in a terrifically unhealthy relationship and wants only to act out, repeating the cycle of abuse in which he was an unwitting victim so many years ago. One could also read the entire narrative as a thinly-veiled metaphor for the myriad ways the eternally hungry yet fickle Hollywood fame machine chewed up and spit out this particular former child actor and friend of Michael Jackson's. Or not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In any event, this concept has been brought to you by Jack Dishel of the Moldy Peaches apparently having a new webseries, plus Macaulay Culkin's abundance of free time now that the whole \u003ca href=\"http://www.sfweekly.com/shookdown/2014/03/06/i-went-to-see-macaulay-culkins-pizza-underground-band-and-it-was-cold-and-soggy-3-5-13\" target=\"_blank\">Pizza Underground thing\u003c/a> has seemingly (thankfully) petered out. Merry Christmas!\u003c/p>\n\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/yh7-wAy_8ss'\n title='//www.youtube.com/embed/yh7-wAy_8ss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "For Those Not Stricken with 'Star Wars' Fever, Carrie Fisher’s Dog Is Sweet Relief",
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"content": "\u003cp>Anybody else out there done with goddamn \u003cem>Star Wars\u003c/em>? As a person who works in media, I can’t wait for this blip in our collective attention span to fizzle out. For the past year I’ve been inundated with clickbait content about a frickin’ movie, many of these so-called stories concentrated on mind-numbingly banal details that are barely even related to the film -- be it the fact that \u003ca href=\"http://www.people.com/article/joseph-gordon-levitt-yoda-star-wars-the-force-awakens-premiere\" target=\"_blank\">Joseph Gordon-Levitt dressed as Yoda for the Hollywood premiere\u003c/a> or that someone made video parodies that \u003ca href=\"http://www.ew.com/article/2015/12/11/star-wars-hypothetical-christmas-special\" target=\"_blank\">referenced the failed 1978 Star Wars special\u003c/a>.\u003c/p>\n\u003cp>(Personally, my favorite stories have been those that ponder the question of what to do \u003ca href=\"http://theconcourse.deadspin.com/what-if-the-new-star-wars-sucks-too-1737539377\" target=\"_blank\">if \u003ci>Star Wars: The Force Awakens\u003c/i> sucks\u003c/a>. There’s even \u003ca href=\"http://theodysseyonline.com/siu/5-easy-steps-prepare-case-force-awakens-sucks/233106\" target=\"_blank\">a helpful guide\u003c/a> and a \u003ca href=\"https://www.facebook.com/Ifep7suxweriot/\" target=\"_blank\">Facebook page\u003c/a> for those planning to riot if this comes true*.)\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/daveanthony/status/676863130668929025\">https://twitter.com/daveanthony/status/676863130668929025\u003c/a>\u003c/p>\n\u003cp>Yes, we’re almost at the obsession’s peak -- when everybody and their mom reviews it, be it on a blog or to a coworker in the staff kitchen -- and freedom is on the horizon. But before we let it become a distant pop-culture memory, let's take a moment to note that this deluge of media has had a bright spot, and its name is Gary Fisher.\u003c/p>\n\u003cp>No, not the mountain biking guy. I’m talking about Carrie Fisher’s dog, a black French bulldog with the face of an angel -- a big, dumb, so sweet-you-want-to-eat-it angel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Gary_TheDog/status/673021190068416512\u003c/p>\n\u003cp>Fisher’s return as Princess Leia appears to mean little to her, and she’s used the required press tour to showcase her quick wit and #IDGAF attitude. Though highlights like her \u003ca href=\"https://www.youtube.com/watch?v=DhwQt-snchY\" target=\"_blank\">smackdown of Mario Lopez\u003c/a> have been fun, the crown jewels in this blitzkrieg of media dominance have been those times when she put little Gary next to her on stage -- in his own seat, of course -- and let loose that drunk-and-sassy-aunt mouth while the pup stared on, showing no sign of recognizing the television ambrosia being created around him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://abcnews.go.com/video/embed?id=35576204\" width=\"640\" height=\"360\" scrolling=\"no\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Being that it’s the 21st century, these star-powered appearances on \u003cem>Good Morning America\u003c/em> and \u003ca href=\"https://www.youtube.com/watch?v=HUpHmfj3ns4\" target=\"_blank\">\u003cem>Live with Kelly and Michael\u003c/em> \u003c/a>led to social media accounts being created for the dog almost instantly. Gary now has a \u003ca href=\"https://twitter.com/gary_thedog\" target=\"_blank\">Twitter page\u003c/a> and \u003ca href=\"https://www.instagram.com/garyfisher/\" target=\"_blank\">an Instagram account\u003c/a>. Yet the best image to come out of the massive waterfall of Star Wars diarrhea came from Carrie's personal Twitter account, and it features her, her superstar companion, and her former slave master (no, not George Lucas).\u003c/p>\n\u003cp>https://twitter.com/carrieffisher/status/674739723093454848\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>*Yes, I know this is a joke page.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anybody else out there done with goddamn \u003cem>Star Wars\u003c/em>? As a person who works in media, I can’t wait for this blip in our collective attention span to fizzle out. For the past year I’ve been inundated with clickbait content about a frickin’ movie, many of these so-called stories concentrated on mind-numbingly banal details that are barely even related to the film -- be it the fact that \u003ca href=\"http://www.people.com/article/joseph-gordon-levitt-yoda-star-wars-the-force-awakens-premiere\" target=\"_blank\">Joseph Gordon-Levitt dressed as Yoda for the Hollywood premiere\u003c/a> or that someone made video parodies that \u003ca href=\"http://www.ew.com/article/2015/12/11/star-wars-hypothetical-christmas-special\" target=\"_blank\">referenced the failed 1978 Star Wars special\u003c/a>.\u003c/p>\n\u003cp>(Personally, my favorite stories have been those that ponder the question of what to do \u003ca href=\"http://theconcourse.deadspin.com/what-if-the-new-star-wars-sucks-too-1737539377\" target=\"_blank\">if \u003ci>Star Wars: The Force Awakens\u003c/i> sucks\u003c/a>. There’s even \u003ca href=\"http://theodysseyonline.com/siu/5-easy-steps-prepare-case-force-awakens-sucks/233106\" target=\"_blank\">a helpful guide\u003c/a> and a \u003ca href=\"https://www.facebook.com/Ifep7suxweriot/\" target=\"_blank\">Facebook page\u003c/a> for those planning to riot if this comes true*.)\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/daveanthony/status/676863130668929025\">https://twitter.com/daveanthony/status/676863130668929025\u003c/a>\u003c/p>\n\u003cp>Yes, we’re almost at the obsession’s peak -- when everybody and their mom reviews it, be it on a blog or to a coworker in the staff kitchen -- and freedom is on the horizon. But before we let it become a distant pop-culture memory, let's take a moment to note that this deluge of media has had a bright spot, and its name is Gary Fisher.\u003c/p>\n\u003cp>No, not the mountain biking guy. I’m talking about Carrie Fisher’s dog, a black French bulldog with the face of an angel -- a big, dumb, so sweet-you-want-to-eat-it angel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Fisher’s return as Princess Leia appears to mean little to her, and she’s used the required press tour to showcase her quick wit and #IDGAF attitude. Though highlights like her \u003ca href=\"https://www.youtube.com/watch?v=DhwQt-snchY\" target=\"_blank\">smackdown of Mario Lopez\u003c/a> have been fun, the crown jewels in this blitzkrieg of media dominance have been those times when she put little Gary next to her on stage -- in his own seat, of course -- and let loose that drunk-and-sassy-aunt mouth while the pup stared on, showing no sign of recognizing the television ambrosia being created around him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://abcnews.go.com/video/embed?id=35576204\" width=\"640\" height=\"360\" scrolling=\"no\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Being that it’s the 21st century, these star-powered appearances on \u003cem>Good Morning America\u003c/em> and \u003ca href=\"https://www.youtube.com/watch?v=HUpHmfj3ns4\" target=\"_blank\">\u003cem>Live with Kelly and Michael\u003c/em> \u003c/a>led to social media accounts being created for the dog almost instantly. Gary now has a \u003ca href=\"https://twitter.com/gary_thedog\" target=\"_blank\">Twitter page\u003c/a> and \u003ca href=\"https://www.instagram.com/garyfisher/\" target=\"_blank\">an Instagram account\u003c/a>. Yet the best image to come out of the massive waterfall of Star Wars diarrhea came from Carrie's personal Twitter account, and it features her, her superstar companion, and her former slave master (no, not George Lucas).\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Like his 2002 melodrama \u003cem>Far from Heaven\u003c/em>, which it resembles in all sorts of good ways, Todd Haynes’ \u003cem>Carol\u003c/em> opens onto a busy city street scene in full 1950s dress. The camera quickly settles on a young man in a fedora as he rounds a corner and enters a plush eating establishment. A story is brewing there, but one in which Fedora Man will turn out to be no more than a peripheral player, our guide to two elegantly clad women apparently enjoying a gossipy afternoon tea.\u003c/p>\n\u003cp>That’s not right, either. The tea’s going cold and the two glossy heads, which belong to Cate Blanchett and Rooney Mara, aren’t gossiping. They’re former lovers whose \u003cem>amour fou\u003c/em> has come under fire from all the artillery a prim postwar America can muster. By the time that deceptively cozy scene rolls around again, almost but not quite at the end of the movie, we’ll know what it took to bring a wealthy society matron and a shop girl together, what tore them apart, and what they might do next. The thing is, not even the couple would call their affair to remember lesbian, let alone its more coy cousin, sapphic. They just happened to fall in love, and one of them is a mother, and everyone starts screaming about morality clauses.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H4z7Px68ywk\u003c/p>\n\u003cp>\u003cem>Carol\u003c/em> is ably adapted by Phyllis Nagy (\u003cem>Mrs. Harris\u003c/em>) from a 1952 novel, \u003cem>The Price of Salt\u003c/em>, which the great crime writer Patricia Highsmith was brave or reckless enough to publish in 1952. I’m betting that Highsmith, a bold stylist herself, would have loved \u003cem>Carol\u003c/em> even though it’s a Todd Haynes film in every fiber of its Douglas Sirk-inspired being. Every line of willfully stilted dialogue, every hand resting briefly on a shoulder, every rain-soaked cab window, every stitch of every crimson-saturated scarf and fringed lampshade, every note of Carter Burwell’s splendidly lachrymose score, functions as signage of something to do with the mighty clash between desire, propriety and duty that is Haynes’ magnificent obsession. Some find all the lush costuming, moody lighting and symbolism stifling, and those who prefer their women’s dramas more mellow than melo should probably stick with the recently released (and also very fine) \u003cem>Brooklyn\u003c/em>. But though it’s true that emotion gets drowned in some of his more semiotic films (\u003cem>I’m Not There\u003c/em> was clever, but it was work), in \u003cem>Carol\u003c/em> form never trumps feeling.\u003c/p>\n\u003cp>The passion begins just before Christmas with a stare beamed across a department store floor between two strangers with a gulf of class and age yawning before them. Haynes adores melodrama too much to be fully ironic with it, but he likes to have fun too. Behold Mara’s Therese, shop assistant in a company-issued Santa cap she visibly loathes; off-duty she favors plaid tam o’shanters and hooded coats, none of which can disguise the fact that she’s basically Audrey Hepburn, shy and unpolished and blind to how enchanting she appears to Blanchett’s Carol, a vision in furs, scarlet nails and a shining helmet of frequently tossed blond hair.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So begins a pursuit that’s all the sexier for being conducted under the radar of Carol’s freshly estranged husband (the splendidly alpha Kyle Chandler), a good man turned vengeful by abandonment. He’s not alone. “Do you know what you’re doing?” asks Carol’s loyal friend and sometime lover Abby, who’s played by the terrific Sarah Paulson. “I don’t,” Carol answers merrily. “I never do.” There’s a bit of a predator in Carol, and she seems to hold all the cards as the two women embark on a fateful road trip. But from where we sit in both women’s futures, she may also, as a wife and mother with no independent means, be a casualty waiting to happen. Therese, meanwhile, quietly blooms into a New Woman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tragedy is the driving force of melodrama, and inevitably one of these two women will pay a much heavier price for refusing to “live against my grain” than the other. A revelatory scene in an office full of hard-bargaining divorce lawyers breaks the heart. But it’s also a break\u003cem>through\u003c/em>, so much so that when the movie comes full circle to that tea-room conversation, both the outcome and the shift in point of view make it crystal-clear that Haynes isn’t just paying homage to the genre he’s always worshipped. With this ravishing film, he’s also conducting a spirited argument with \u003cem>Brief Encounter\u003c/em>, and this changes everything.\u003c/p>\n\n",
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"title": "'Carol,' Netflix Lead a Wide-Ranging Golden Globes Field",
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"content": "\u003cp>From the sumptuous romance of “Carol” to the apocalyptic rage of “Mad Max: Fury Road,” streaming series to network dramas, Will Smith to Amy Schumer, the 73rd annual Golden Globe nominations unveiled a widespread field of nominations that attempted to corral a chaotic Oscar race and an ever-expanding television landscape.\u003c/p>\n\u003cp>The Hollywood Foreign Press Association swooned hardest for Todd Haynes’ 1950s lesbian tale \u003cem>Carol\u003c/em>, which landed a leading five nominations on Thursday, including best picture, drama. Nods for its two stars, Cate Blanchett and Rooney Mara, as well as for Haynes’ direction, lent a boost to the film’s growing Oscar outlook.\u003c/p>\n\u003cp>But little else was so straightforward in nominations that rewarded the acclaimed newsroom drama \u003cem>Spotlight\u003c/em>, but not its cast; gave Los Gatos-based Netflix a leading eight nominations (plus one for its first original movie); and supplied \u003cem>Creed\u003c/em> co-star Sylvester Stallone his first Globe nomination in 29 years, yet for the same character (Mr. Rocky Balboa).\u003c/p>\n\u003cp>It remains to be seen if an Academy Awards heavyweight will be anywhere to be found at the January 10 Beverly Hills, Calif., ceremony. Such questions should lend drama to the Globes, which will be hosted again by its grinning nemesis, Ricky Gervais.\u003c/p>\n\u003cp>In the season’s crowded field of contenders — and with \u003cem>Star Wars: The Force Awakens\u003c/em> threatening box office obliteration — attention from the Globes was very much welcomed Thursday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The number one reaction to these kinds of nominations is, ‘Oh, thank God. It’ll help the movie get out there,'” said Adam McKay, director of \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>McKay’s starry finance farce was one of the films that surged Thursday. Originally slated for release next year, its late jump into awards season was rewarded with four nominations, including best picture, comedy, and nods for Steve Carell and Christian Bale.\u003c/p>\n\u003cp>Alejandro Inarritu’s follow-up to his Oscar-winning \u003cem>Birdman\u003c/em>, the frontier epic \u003cem>The Revenant\u003c/em>, took four nominations, including best picture, drama, and best actor for Leonardo DiCaprio. A four-time Oscar nominee and one-time Globe winner, DiCaprio is gunning for his first Academy Award.\u003c/p>\n\u003cp>Tied with four is the Aaron Sorkin-scripted box-office disappointment \u003cem>Steve Jobs\u003c/em>. But it failed to join the dramatic best picture nominees, which, along with \u003cem>Carol\u003c/em> and \u003cem>The Revenant\u003c/em>, are: \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Room\u003c/em> and \u003cem>Spotlight\u003c/em>.\u003c/p>\n\u003cp>Streaming series from Netflix, Amazon and Hulu dominated the TV side of the Globes, which scattered nominations across the dial. Six shows tied for the most nominations at three: \u003cem>Fargo\u003c/em>, \u003cem>Mr. Robot\u003c/em>, \u003cem>Outlander\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>American Crime\u003c/em> and \u003cem>Wolf Hall\u003c/em>.\u003c/p>\n\u003cp>Tom McCarthy’s acclaimed Boston Globe drama \u003cem>Spotlight\u003c/em>, arguably the Oscar favorite, took three top nominations, including best director for McCarthy and best screenplay. But its ensemble cast is struggling to stand out from the pack.\u003c/p>\n\u003cp>After the Screen Actors Guild Awards passed over Michael Keaton and Mark Ruffalo on Wednesday, the Globes did, too. (Ruffalo, however, was nominated for his performance as a bipolar father in \u003cem>Infinitely Polar Bear\u003c/em>, and Liev Scheiber for Showtime’s \u003cem>Ray Donovan\u003c/em>.)\u003c/p>\n\u003cp>“They know how good they are and recognize the work of all the other actors,” McCarthy said of his cast. “The best picture nomination really speaks to that. Truthfully, I think all the nominations do. That’s the wonderful thing about actors. They can take a little bit of credit all the way down the line.”\u003c/p>\n\u003cp>Most of the expected contenders came away with something to show from the Globes, including the science-nerd space adventure \u003cem>The Martian\u003c/em>. It was nominated for best picture, comedy, actor (Matt Damon) and director (Ridley Scott).\u003c/p>\n\u003cp>David O. Russell’s matriarch portrait \u003cem>Joy\u003c/em>, won nods for best picture, comedy, and best actress for Jennifer Lawrence, a Globe winner the last two years. The haul for \u003cem>Mad Max\u003c/em> also included a nod for best director for George Miller. The Emma Donoghue adaption \u003cem>Room\u003c/em>, landed one for Brie Larson’s lead performance as a captive mother.\u003c/p>\n\u003cp>Smith, whose upcoming \u003cem>Concussion\u003c/em> has drawn headlines for its depiction of head trauma in football, apparently displaced Johnny Depp (\u003cem>Black Mass\u003c/em>) from the best actor, drama, nominees. The others in the category were Michael Fassbender (\u003cem>Steve Jobs\u003c/em>), Eddie Redmayne (\u003cem>The Danish Girl\u003c/em>) and Bryan Cranston (\u003cem>Trumbo\u003c/em>).\u003c/p>\n\u003cp>Alicia Vikander, the ubiquitous star of 2015, joined the best dramatic actress field for Tom Hooper’s transgender period drama \u003cem>The Danish Girl\u003c/em>, as well as the supporting actress nominees for her performance as an artificial intelligence in the sci-fi indie \u003cem>Ex Machina\u003c/em>.\u003c/p>\n\u003cp>Though some questionable category decisions left less humorous films competing for best comedy or musical, two of comedy’s top stars will crash the party: Melissa McCarthy and Schumer. Both were nominated for best actress in a comedy, and their films — \u003cem>Spy\u003c/em> and \u003cem>Trainwreck\u003c/em>, respectively — will compete for best comedic film.\u003c/p>\n\u003cp>In the best animated film category, the Charlie Kaufman-scripted, stop-motion animated “Anomalisa” slotted in alongside a quartet of more family-friendly releases: \u003cem>Inside Out\u003c/em>, \u003cem>The Good Dinosaur\u003c/em>, \u003cem>The Peanuts Movie\u003c/em> and \u003cem>Shaun the Sheep Movie\u003c/em>.\u003c/p>\n\u003cp>Though younger stars like DiCaprio and Lawrence are the leading acting contenders, a number of esteemed veterans joined the nominations, too. Al Pacino (\u003cem>Danny Collins\u003c/em>), Maggie Smith (\u003cem>The Lady in the Van\u003c/em>), Jane Fonda (\u003cem>Youth\u003c/em>) and Helen Mirslren (\u003cem>Trumbo\u003c/em>) all earned nods.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Lindsey Bahr, Lynn Elber and Derrick Lang contributed to this report from Los Angeles\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the sumptuous romance of “Carol” to the apocalyptic rage of “Mad Max: Fury Road,” streaming series to network dramas, Will Smith to Amy Schumer, the 73rd annual Golden Globe nominations unveiled a widespread field of nominations that attempted to corral a chaotic Oscar race and an ever-expanding television landscape.\u003c/p>\n\u003cp>The Hollywood Foreign Press Association swooned hardest for Todd Haynes’ 1950s lesbian tale \u003cem>Carol\u003c/em>, which landed a leading five nominations on Thursday, including best picture, drama. Nods for its two stars, Cate Blanchett and Rooney Mara, as well as for Haynes’ direction, lent a boost to the film’s growing Oscar outlook.\u003c/p>\n\u003cp>But little else was so straightforward in nominations that rewarded the acclaimed newsroom drama \u003cem>Spotlight\u003c/em>, but not its cast; gave Los Gatos-based Netflix a leading eight nominations (plus one for its first original movie); and supplied \u003cem>Creed\u003c/em> co-star Sylvester Stallone his first Globe nomination in 29 years, yet for the same character (Mr. Rocky Balboa).\u003c/p>\n\u003cp>It remains to be seen if an Academy Awards heavyweight will be anywhere to be found at the January 10 Beverly Hills, Calif., ceremony. Such questions should lend drama to the Globes, which will be hosted again by its grinning nemesis, Ricky Gervais.\u003c/p>\n\u003cp>In the season’s crowded field of contenders — and with \u003cem>Star Wars: The Force Awakens\u003c/em> threatening box office obliteration — attention from the Globes was very much welcomed Thursday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The number one reaction to these kinds of nominations is, ‘Oh, thank God. It’ll help the movie get out there,'” said Adam McKay, director of \u003cem>The Big Short\u003c/em>.\u003c/p>\n\u003cp>McKay’s starry finance farce was one of the films that surged Thursday. Originally slated for release next year, its late jump into awards season was rewarded with four nominations, including best picture, comedy, and nods for Steve Carell and Christian Bale.\u003c/p>\n\u003cp>Alejandro Inarritu’s follow-up to his Oscar-winning \u003cem>Birdman\u003c/em>, the frontier epic \u003cem>The Revenant\u003c/em>, took four nominations, including best picture, drama, and best actor for Leonardo DiCaprio. A four-time Oscar nominee and one-time Globe winner, DiCaprio is gunning for his first Academy Award.\u003c/p>\n\u003cp>Tied with four is the Aaron Sorkin-scripted box-office disappointment \u003cem>Steve Jobs\u003c/em>. But it failed to join the dramatic best picture nominees, which, along with \u003cem>Carol\u003c/em> and \u003cem>The Revenant\u003c/em>, are: \u003cem>Mad Max: Fury Road\u003c/em>, \u003cem>Room\u003c/em> and \u003cem>Spotlight\u003c/em>.\u003c/p>\n\u003cp>Streaming series from Netflix, Amazon and Hulu dominated the TV side of the Globes, which scattered nominations across the dial. Six shows tied for the most nominations at three: \u003cem>Fargo\u003c/em>, \u003cem>Mr. Robot\u003c/em>, \u003cem>Outlander\u003c/em>, \u003cem>Transparent\u003c/em>, \u003cem>American Crime\u003c/em> and \u003cem>Wolf Hall\u003c/em>.\u003c/p>\n\u003cp>Tom McCarthy’s acclaimed Boston Globe drama \u003cem>Spotlight\u003c/em>, arguably the Oscar favorite, took three top nominations, including best director for McCarthy and best screenplay. But its ensemble cast is struggling to stand out from the pack.\u003c/p>\n\u003cp>After the Screen Actors Guild Awards passed over Michael Keaton and Mark Ruffalo on Wednesday, the Globes did, too. (Ruffalo, however, was nominated for his performance as a bipolar father in \u003cem>Infinitely Polar Bear\u003c/em>, and Liev Scheiber for Showtime’s \u003cem>Ray Donovan\u003c/em>.)\u003c/p>\n\u003cp>“They know how good they are and recognize the work of all the other actors,” McCarthy said of his cast. “The best picture nomination really speaks to that. Truthfully, I think all the nominations do. That’s the wonderful thing about actors. They can take a little bit of credit all the way down the line.”\u003c/p>\n\u003cp>Most of the expected contenders came away with something to show from the Globes, including the science-nerd space adventure \u003cem>The Martian\u003c/em>. It was nominated for best picture, comedy, actor (Matt Damon) and director (Ridley Scott).\u003c/p>\n\u003cp>David O. Russell’s matriarch portrait \u003cem>Joy\u003c/em>, won nods for best picture, comedy, and best actress for Jennifer Lawrence, a Globe winner the last two years. The haul for \u003cem>Mad Max\u003c/em> also included a nod for best director for George Miller. The Emma Donoghue adaption \u003cem>Room\u003c/em>, landed one for Brie Larson’s lead performance as a captive mother.\u003c/p>\n\u003cp>Smith, whose upcoming \u003cem>Concussion\u003c/em> has drawn headlines for its depiction of head trauma in football, apparently displaced Johnny Depp (\u003cem>Black Mass\u003c/em>) from the best actor, drama, nominees. The others in the category were Michael Fassbender (\u003cem>Steve Jobs\u003c/em>), Eddie Redmayne (\u003cem>The Danish Girl\u003c/em>) and Bryan Cranston (\u003cem>Trumbo\u003c/em>).\u003c/p>\n\u003cp>Alicia Vikander, the ubiquitous star of 2015, joined the best dramatic actress field for Tom Hooper’s transgender period drama \u003cem>The Danish Girl\u003c/em>, as well as the supporting actress nominees for her performance as an artificial intelligence in the sci-fi indie \u003cem>Ex Machina\u003c/em>.\u003c/p>\n\u003cp>Though some questionable category decisions left less humorous films competing for best comedy or musical, two of comedy’s top stars will crash the party: Melissa McCarthy and Schumer. Both were nominated for best actress in a comedy, and their films — \u003cem>Spy\u003c/em> and \u003cem>Trainwreck\u003c/em>, respectively — will compete for best comedic film.\u003c/p>\n\u003cp>In the best animated film category, the Charlie Kaufman-scripted, stop-motion animated “Anomalisa” slotted in alongside a quartet of more family-friendly releases: \u003cem>Inside Out\u003c/em>, \u003cem>The Good Dinosaur\u003c/em>, \u003cem>The Peanuts Movie\u003c/em> and \u003cem>Shaun the Sheep Movie\u003c/em>.\u003c/p>\n\u003cp>Though younger stars like DiCaprio and Lawrence are the leading acting contenders, a number of esteemed veterans joined the nominations, too. Al Pacino (\u003cem>Danny Collins\u003c/em>), Maggie Smith (\u003cem>The Lady in the Van\u003c/em>), Jane Fonda (\u003cem>Youth\u003c/em>) and Helen Mirslren (\u003cem>Trumbo\u003c/em>) all earned nods.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Lindsey Bahr, Lynn Elber and Derrick Lang contributed to this report from Los Angeles\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Kids in Town: Alamo Drafthouse Reopens New Mission Theater [UPDATED]",
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"content": "\u003cp>\u003cstrong>UPDATE:\u003c/strong> (Dec. 11, 4pm)\u003c/p>\n\u003cp>Though the official opening date is Thursday, Dec. 17, the Alamo Drafthouse will have a “soft opening” for the New Mission Theater this Saturday, Dec. 12. For movie listings, visit the \u003ca href=\"https://drafthouse.com/sf/calendar/new-mission\" target=\"_blank\" rel=\"noopener\">theater’s website\u003c/a>. \u003c/p>\n\u003cp>Alamo Drafthouse, along with production company \u003ca href=\"http://www.annapurnapics.com/main/#about\" target=\"_blank\" rel=\"noopener\">Annapurna Pictures,\u003c/a> have also made a deal with the former San Francisco video store Le Video to help preserve their famous collection of over 90,000 titles. Read more about the deal \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">on KQED News\u003c/a>. \u003c/p>\n\u003cp>\u003cb>Original story:\u003c/b>\u003c/p>\n\u003cp>By my reckoning, the Metreon multiplex was the last new movie theater to open in San Francisco, in 1999. A few exhibitors have since popped for pricey reconfigurations and renovations (Sundance Kabuki, Landmark’s Embarcadero Center Cinema), but nobody has had the ambition and confidence to either build from scratch or reclaim and restore a shuttered cinema in the 21st century — until now. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Dec. 17, the \u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener\">New Mission Theater\u003c/a> reopens under the auspices of Alamo Drafthouse, the quirky and influential Austin-based chain founded by Berkeley native Tim League and his wife, Karrie.\u003c/p>\n\u003cfigure id=\"attachment_11144837\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Exterior.jpg\" alt=\"The marquee on Mission Street.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11144837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">The marquee on Mission Street. \u003ccite>(Courtesy: Mike Keegan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the massively refurbished New Mission, on Mission St between 21st and 22nd Streets, is a 320-seat house augmented by four theaters scaling from 90 down to 34 seats. Although it’s a neighborhood theater, like the vast majority of S.F. cinemas, it will attract moviegoers from all over the city for at least the first several months. (New movie theaters, like new ballparks, have a galvanizing effect on the public. Call it the “new seat effect.”)\u003c/p>\n\u003cp>As long as we’re talking about the (infra)structure, the New Mission features a significant bar/lounge space that League envisions as a destination even if customers aren’t up for a movie. This writer, however, imagines Bear Vs Bull, as it’s called, jammed with people jabbering about the film they just saw. \u003c/p>\n\u003cp>“What I like to do,” League agrees, “and why we have a bar at all our theaters, after I watch an incredible movie the first thing I want to do is sit down over a beer or a cocktail and talk about it.” Whoever’s downing ‘em, the libations and comestibles comprise an important revenue stream to recoup Drafthouse’s reported $10 million investment in the New Mission.\u003c/p>\n\u003cp>Audiences, admittedly, aren’t much interested in whether the profit margin is greater for a pint and a portobello sandwich than basic popcorn and soda. And after the novelty of the new theater wears off, regular moviegoers will be less concerned with the configuration of the screening rooms and the comfort of the seats than with what’s on the screen. So the most compelling question is, what will the New Mission be showing?\u003c/p>\n\u003cfigure id=\"attachment_11144834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction.jpg\" alt=\"New Mission lobby staircase under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission lobby staircase under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The very first booking, a low-budget, under-the-radar sequel entitled \u003cem>Star Wars: Episode VII: The Force Awakens\u003c/em>, feels more like an acknowledgement of financial realities than the first step in instilling the New Mission’s identity. My conversations with League and creative manager Mike Keegan, a familiar face from his years at the Roxie, indicates that they are ecumenical and egalitarian movie lovers whose tastes encompass high and low, quality and exploitation, Bergman-esque philosophy and Pavlovian action, without fear or favor. So booking a blockbuster shouldn’t be viewed as either shamelessly selling out or violating monastic precepts but an embrace of all kinds of movies — in this case, popular mainstream fare.\u003c/p>\n\u003cp>Of course, a steady diet of that stuff — as well as popcorn and cola — makes you flabby, soft and stupid. In any event, the New Mission will do consistently terrific business on the weekends, regardless of whether its offerings are comic-book movies or character-based dramas (aka arthouse fare), because that’s when people go to the movies. The overriding challenge the New Mission faces is filling the place on weeknights. Here’s where it gets interesting.\u003c/p>\n\u003cp>Keegan, who holds the keys to the programming kingdom, is merging Alamo Drafthouse’s experience in Texas and other markets with his own experiments. His first job in the film biz a little over a decade ago was as a parking lot attendant at the Spectrum in Albany, New York; he wound up managing the place and booking midnight movies. He joined the Roxie’s merry programmers in 2008, shortly after he moved to San Francisco. \u003c/p>\n\u003cp>At the New Mission, Keegan declares, “We’re here to build film lovers. And a time-honored way to build film lovers is through genre film.”\u003c/p>\n\u003cfigure id=\"attachment_11144835\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction2.jpg\" alt=\"New Mission main auditorium under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission main auditorium under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, League, his wife and various associates compiled a library of some 5,000 35mm prints from which the Alamo Drafthouse theaters curate weeknight series. Keegan practically rubs his hands together in glee and cackles over the imminent prospect of transporting those popular Drafthouse theme nights to San Francisco. “Terror Tuesday” will feature a steady stream of horror movies of every conceivable stripe, while “Weird Wednesday” encompasses exploitation movies, bizarre rarities, cult oddities and one-offs.\u003c/p>\n\u003cp>“Music Mondays” kicks off the week, and while music documentaries are certainly a subgenre, they don’t draw the same loyal following week in and week out. A given film will attract fans of the artist or of that branch of music, but not “music fans,” per se. \u003c/p>\n\u003cp>Keegan envisions dedicating Thursday nights to community screenings, with a rotation comprised of the multitude of local film festivals and ancillary organizations. A certain amount of trial and error can be expected in the first few months, which is fine with him. After all, if you aspire to inspire people who aren’t in the habit to become regular moviegoers, you’re going to have some misses. Keegan, like most programmers, loves hearing feedback.\u003c/p>\n\u003cp>“I view it as a conversation,” he explains, “and the initial calendars are conversation starters.”\u003c/p>\n\u003cp>Yes, the New Mission will print and distribute somewhere between 10 and 30,000 calendars every month — the number will shake out over time, another product of trial and error — to laundromats, cafes and record stores. Or, as Keegan puts it, “Wherever people read a free piece of paper.”\u003c/p>\n\u003cfigure id=\"attachment_11144838\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Railing.jpg\" alt=\"Detail of the lobby railing during construction, April 2015.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11144838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the lobby railing during construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, the backdrop to the opening of a new movie house at the present moment is the ubiquity of streaming, and the instant availability of moving-image entertainment. Going to theaters for entertainment is a relic of the past, many people think, especially when there are so many compelling television series to watch. League disagrees, as you’d expect from someone who has sunk a large chunk of change into a five-screen movie house.\u003c/p>\n\u003cp>“I’ve always thought of ourselves as having a different set of competition,” he says. “No matter how good your home entertainment center is, or long-form TV, you want to get out of the house. We compete against the bars, shows, comedy. We want to make sure our experience is compelling enough to compete against the other outside-the-house entertainment options.”\u003c/p>\n\u003cp>League is right about the bars (d)evolving into the default social activity for San Franciscans of a certain age. As a devotee of movies and theaters — which I assume you are as well, if you’ve stuck with the story this far — you’re rooting for League and Keegan to establish the New Mission as not just an alluring entertainment option, or a successful business, but as an institution that nourishes and advances film culture. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is that asking too much of a multiplex that raises its curtain with the unholy offspring of George Lucas and J.J. Abrams? Let’s discuss it over a pint in six months.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE:\u003c/strong> (Dec. 11, 4pm)\u003c/p>\n\u003cp>Though the official opening date is Thursday, Dec. 17, the Alamo Drafthouse will have a “soft opening” for the New Mission Theater this Saturday, Dec. 12. For movie listings, visit the \u003ca href=\"https://drafthouse.com/sf/calendar/new-mission\" target=\"_blank\" rel=\"noopener\">theater’s website\u003c/a>. \u003c/p>\n\u003cp>Alamo Drafthouse, along with production company \u003ca href=\"http://www.annapurnapics.com/main/#about\" target=\"_blank\" rel=\"noopener\">Annapurna Pictures,\u003c/a> have also made a deal with the former San Francisco video store Le Video to help preserve their famous collection of over 90,000 titles. Read more about the deal \u003ca href=\"http://ww2.kqed.org/news/2015/12/09/alamo-drafthouse-makes-deal-to-preserve-titles-from-le-video-collection\" target=\"_blank\" rel=\"noopener\">on KQED News\u003c/a>. \u003c/p>\n\u003cp>\u003cb>Original story:\u003c/b>\u003c/p>\n\u003cp>By my reckoning, the Metreon multiplex was the last new movie theater to open in San Francisco, in 1999. A few exhibitors have since popped for pricey reconfigurations and renovations (Sundance Kabuki, Landmark’s Embarcadero Center Cinema), but nobody has had the ambition and confidence to either build from scratch or reclaim and restore a shuttered cinema in the 21st century — until now. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Dec. 17, the \u003ca href=\"https://drafthouse.com/sf\" target=\"_blank\" rel=\"noopener\">New Mission Theater\u003c/a> reopens under the auspices of Alamo Drafthouse, the quirky and influential Austin-based chain founded by Berkeley native Tim League and his wife, Karrie.\u003c/p>\n\u003cfigure id=\"attachment_11144837\" class=\"wp-caption alignright\" style=\"max-width: 427px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Exterior.jpg\" alt=\"The marquee on Mission Street.\" width=\"427\" height=\"640\" class=\"size-full wp-image-11144837\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior.jpg 427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Exterior-400x600.jpg 400w\" sizes=\"(max-width: 427px) 100vw, 427px\">\u003cfigcaption class=\"wp-caption-text\">The marquee on Mission Street. \u003ccite>(Courtesy: Mike Keegan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The centerpiece of the massively refurbished New Mission, on Mission St between 21st and 22nd Streets, is a 320-seat house augmented by four theaters scaling from 90 down to 34 seats. Although it’s a neighborhood theater, like the vast majority of S.F. cinemas, it will attract moviegoers from all over the city for at least the first several months. (New movie theaters, like new ballparks, have a galvanizing effect on the public. Call it the “new seat effect.”)\u003c/p>\n\u003cp>As long as we’re talking about the (infra)structure, the New Mission features a significant bar/lounge space that League envisions as a destination even if customers aren’t up for a movie. This writer, however, imagines Bear Vs Bull, as it’s called, jammed with people jabbering about the film they just saw. \u003c/p>\n\u003cp>“What I like to do,” League agrees, “and why we have a bar at all our theaters, after I watch an incredible movie the first thing I want to do is sit down over a beer or a cocktail and talk about it.” Whoever’s downing ‘em, the libations and comestibles comprise an important revenue stream to recoup Drafthouse’s reported $10 million investment in the New Mission.\u003c/p>\n\u003cp>Audiences, admittedly, aren’t much interested in whether the profit margin is greater for a pint and a portobello sandwich than basic popcorn and soda. And after the novelty of the new theater wears off, regular moviegoers will be less concerned with the configuration of the screening rooms and the comfort of the seats than with what’s on the screen. So the most compelling question is, what will the New Mission be showing?\u003c/p>\n\u003cfigure id=\"attachment_11144834\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction.jpg\" alt=\"New Mission lobby staircase under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144834\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission lobby staircase under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The very first booking, a low-budget, under-the-radar sequel entitled \u003cem>Star Wars: Episode VII: The Force Awakens\u003c/em>, feels more like an acknowledgement of financial realities than the first step in instilling the New Mission’s identity. My conversations with League and creative manager Mike Keegan, a familiar face from his years at the Roxie, indicates that they are ecumenical and egalitarian movie lovers whose tastes encompass high and low, quality and exploitation, Bergman-esque philosophy and Pavlovian action, without fear or favor. So booking a blockbuster shouldn’t be viewed as either shamelessly selling out or violating monastic precepts but an embrace of all kinds of movies — in this case, popular mainstream fare.\u003c/p>\n\u003cp>Of course, a steady diet of that stuff — as well as popcorn and cola — makes you flabby, soft and stupid. In any event, the New Mission will do consistently terrific business on the weekends, regardless of whether its offerings are comic-book movies or character-based dramas (aka arthouse fare), because that’s when people go to the movies. The overriding challenge the New Mission faces is filling the place on weeknights. Here’s where it gets interesting.\u003c/p>\n\u003cp>Keegan, who holds the keys to the programming kingdom, is merging Alamo Drafthouse’s experience in Texas and other markets with his own experiments. His first job in the film biz a little over a decade ago was as a parking lot attendant at the Spectrum in Albany, New York; he wound up managing the place and booking midnight movies. He joined the Roxie’s merry programmers in 2008, shortly after he moved to San Francisco. \u003c/p>\n\u003cp>At the New Mission, Keegan declares, “We’re here to build film lovers. And a time-honored way to build film lovers is through genre film.”\u003c/p>\n\u003cfigure id=\"attachment_11144835\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Construction2.jpg\" alt=\"New Mission main auditorium under construction, April 2015.\" width=\"1200\" height=\"795\" class=\"size-full wp-image-11144835\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Construction2-960x636.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">New Mission main auditorium under construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, League, his wife and various associates compiled a library of some 5,000 35mm prints from which the Alamo Drafthouse theaters curate weeknight series. Keegan practically rubs his hands together in glee and cackles over the imminent prospect of transporting those popular Drafthouse theme nights to San Francisco. “Terror Tuesday” will feature a steady stream of horror movies of every conceivable stripe, while “Weird Wednesday” encompasses exploitation movies, bizarre rarities, cult oddities and one-offs.\u003c/p>\n\u003cp>“Music Mondays” kicks off the week, and while music documentaries are certainly a subgenre, they don’t draw the same loyal following week in and week out. A given film will attract fans of the artist or of that branch of music, but not “music fans,” per se. \u003c/p>\n\u003cp>Keegan envisions dedicating Thursday nights to community screenings, with a rotation comprised of the multitude of local film festivals and ancillary organizations. A certain amount of trial and error can be expected in the first few months, which is fine with him. After all, if you aspire to inspire people who aren’t in the habit to become regular moviegoers, you’re going to have some misses. Keegan, like most programmers, loves hearing feedback.\u003c/p>\n\u003cp>“I view it as a conversation,” he explains, “and the initial calendars are conversation starters.”\u003c/p>\n\u003cp>Yes, the New Mission will print and distribute somewhere between 10 and 30,000 calendars every month — the number will shake out over time, another product of trial and error — to laundromats, cafes and record stores. Or, as Keegan puts it, “Wherever people read a free piece of paper.”\u003c/p>\n\u003cfigure id=\"attachment_11144838\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Railing.jpg\" alt=\"Detail of the lobby railing during construction, April 2015.\" width=\"640\" height=\"427\" class=\"size-full wp-image-11144838\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Railing-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the lobby railing during construction, April 2015. \u003ccite>(Photo: Jacob Zukerman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, the backdrop to the opening of a new movie house at the present moment is the ubiquity of streaming, and the instant availability of moving-image entertainment. Going to theaters for entertainment is a relic of the past, many people think, especially when there are so many compelling television series to watch. League disagrees, as you’d expect from someone who has sunk a large chunk of change into a five-screen movie house.\u003c/p>\n\u003cp>“I’ve always thought of ourselves as having a different set of competition,” he says. “No matter how good your home entertainment center is, or long-form TV, you want to get out of the house. We compete against the bars, shows, comedy. We want to make sure our experience is compelling enough to compete against the other outside-the-house entertainment options.”\u003c/p>\n\u003cp>League is right about the bars (d)evolving into the default social activity for San Franciscans of a certain age. As a devotee of movies and theaters — which I assume you are as well, if you’ve stuck with the story this far — you’re rooting for League and Keegan to establish the New Mission as not just an alluring entertainment option, or a successful business, but as an institution that nourishes and advances film culture. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is that asking too much of a multiplex that raises its curtain with the unholy offspring of George Lucas and J.J. Abrams? Let’s discuss it over a pint in six months.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "transgender-actress-warhol-muse-holly-woodlawn-dies-at-69",
"title": "Transgender Actress, Warhol Muse Holly Woodlawn Dies at 69",
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"headTitle": "Transgender Actress, Warhol Muse Holly Woodlawn Dies at 69 | KQED",
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"content": "\u003cp> Holly Woodlawn, the transgender actress made famous by Andy Warhol and Paul Morrissey in their 1970s films \u003cem>Trash\u003c/em> and \u003cem>Women in Revolt\u003c/em>, has died.\u003c/p>\n\u003cp>Woodlawn died Sunday in Los Angeles after a battle with cancer, said her former caretaker and friend Mariela Huerta. She was 69.\u003c/p>\n\u003cp>Born Harold Danhakl, she took on the name Holly Woodlawn after running away from home at age 15 and hitchhiking to New York City, where she became one of Warhol’s drag queen “superstars.” Her story was immortalized in the first lines of the Lou Reed song “Walk on the Wild Side.”\u003c/p>\n\u003cp>It began: “Holly came from Miami, F.L.A. Hitchhiked her way across the U.S.A. Plucked her eyebrows on the way. Shaved her legs and then he was a she. She says, ‘Hey, babe, take a walk on the wild side.’ ”\u003c/p>\n\u003cp>Woodlawn explained in a 2007 interview with the British newspaper \u003cem>The Guardian\u003c/em> that she didn’t get to know Reed until after the song was released in 1972.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Woodlawn received critical acclaim for her film roles, but she couldn’t find mainstream success. Her cult status helped her make a comeback in such 1990s independent films as \u003cem>Twin Falls Idaho\u003c/em> and \u003cem>Billy’s Hollywood Screen Kiss\u003c/em>. More recently, she appeared in the TV comedy \u003cem>Transparent\u003c/em>.\u003c/p>\n\u003cp>Of her time as a Warhol superstar, she told \u003cem>the Guardian\u003c/em>: “I felt like Elizabeth Taylor! Little did I realize that not only would there be no money, but that your star would flicker for two seconds and that was it. But it was worth it, the drugs, the parties, it was fabulous.”\u003c/p>\n\u003cp>Huerta said Woodlawn had no survivor. Plans for a memorial service were pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"title": "Transgender Actress, Warhol Muse Holly Woodlawn Dies at 69 | KQED",
"description": "Holly Woodlawn, the transgender actress made famous by Andy Warhol and Paul Morrissey in their 1970s films Trash and Women in Revolt, has died. Woodlawn died Sunday in Los Angeles after a battle with cancer, said her former caretaker and friend Mariela Huerta. She was 69. Born Harold Danhakl, she took on the name Holly Woodlawn after running away from home at age 15 and hitchhiking to New York City, where she became one of Warhol's drag queen "superstars." Her story was immortalized in the first lines of the Lou Reed song "Walk on the Wild Side." It began: "Holly",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> Holly Woodlawn, the transgender actress made famous by Andy Warhol and Paul Morrissey in their 1970s films \u003cem>Trash\u003c/em> and \u003cem>Women in Revolt\u003c/em>, has died.\u003c/p>\n\u003cp>Woodlawn died Sunday in Los Angeles after a battle with cancer, said her former caretaker and friend Mariela Huerta. She was 69.\u003c/p>\n\u003cp>Born Harold Danhakl, she took on the name Holly Woodlawn after running away from home at age 15 and hitchhiking to New York City, where she became one of Warhol’s drag queen “superstars.” Her story was immortalized in the first lines of the Lou Reed song “Walk on the Wild Side.”\u003c/p>\n\u003cp>It began: “Holly came from Miami, F.L.A. Hitchhiked her way across the U.S.A. Plucked her eyebrows on the way. Shaved her legs and then he was a she. She says, ‘Hey, babe, take a walk on the wild side.’ ”\u003c/p>\n\u003cp>Woodlawn explained in a 2007 interview with the British newspaper \u003cem>The Guardian\u003c/em> that she didn’t get to know Reed until after the song was released in 1972.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Woodlawn received critical acclaim for her film roles, but she couldn’t find mainstream success. Her cult status helped her make a comeback in such 1990s independent films as \u003cem>Twin Falls Idaho\u003c/em> and \u003cem>Billy’s Hollywood Screen Kiss\u003c/em>. More recently, she appeared in the TV comedy \u003cem>Transparent\u003c/em>.\u003c/p>\n\u003cp>Of her time as a Warhol superstar, she told \u003cem>the Guardian\u003c/em>: “I felt like Elizabeth Taylor! Little did I realize that not only would there be no money, but that your star would flicker for two seconds and that was it. But it was worth it, the drugs, the parties, it was fabulous.”\u003c/p>\n\u003cp>Huerta said Woodlawn had no survivor. Plans for a memorial service were pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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