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"content": "\u003cp>Ever wondered what it takes to make a great stop-motion short like \u003cem>Owl and Mouse\u003c/em>? KQED’s \u003cem>Art School\u003c/em> gave \u003cem>Film School Shorts\u003c/em> the inside scoop! In this hands-on demonstration, filmmaker Kirsten Lepore shows us her preferred techniques and methods for creating claymation. Her set-up is sophisticated, but using her techniques, \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/07/stop-motion-mania-tips-for-making-your-own-animation/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/07/stop-motion-mania-tips-for-making-your-own-animation/\" target=\"_blank\" title=\"Stop-Motion Mania: Tips for Making Your Own Animation\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>In this wry tale that celebrates the art of stop-motion animation, a curmudgeonly owl must fight his nature when he has to watch over a young mouse for a night.\u003cbr>\nA short film by Emma Noble. Made at NYU.\u003c/p>\n\u003cp>\u003cspan><iframe type=\"text/html\" width=\"580\" height=\"357\" src=\"http://www.youtube.com/embed/sYXVX30AN50?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent\" \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/05/one-cranky-fowl-stop-motion-short-owl-and-mouse/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/span>\u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/08/05/one-cranky-fowl-stop-motion-short-owl-and-mouse/\" target=\"_blank\" title=\"One Cranky Fowl: Stop-Motion Short ‘Owl and Mouse’\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Five to Watch: Cutting Through the Fog",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/i-wake-up-dreaming-2015-hot-summer-noir/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>I Wake Up Dreaming 2015: Hot Summer Noir\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 5-Sep. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/i-wake-up-dreaming-2015-hot-summer-noir/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/japan-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Japan Film Festival\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7-16, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">New People Cinema\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/japan-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maggot-brains-black-sci-fi-punk-and-experimental-film/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Maggot Brains: Black Sci-Fi, Punk and Experimental Film\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 15-29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">YBCA\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maggot-brains-black-sci-fi-punk-and-experimental-film/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/being-evel/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Being Evel\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 21-27, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Roxie Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/being-evel/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>August is low tide in the movie business. The dog days, effectively, provide a breather after the gargantuan superhero and super-dinosaur hits and before the wave of serious films vying for a place on the Oscar dais. Everyone seems slightly distracted this month, between kids gearing up to go back to school and adults grabbing one last weekend fling before the days get shorter. But if you can’t bear the thought of four weeks without a flickering projector, there are plenty of options.\u003c/p>\n\u003cp>The cynical, world-weary morality plays that Hollywood churned out in the 1940s and ‘50s mostly depicted corruption and injustice as institutionalized American values. After all, you couldn’t very well sell homespun hokum to World War II vets who’d watched the good die young while black marketers got rich. Hence the appeal of what the French critics embraced as film noir. \u003ca href=\"http://iwakeupdreaming.com/\" target=\"_blank\" rel=\"noopener\">I Wake Up Dreaming 2015: Hot Summer Noir\u003c/a> marks local programming savant Elliot Lavine’s first series at the Castro after years of packing the Roxie with noir enthusiasts. For the occasion, he’s assembled a murderers’ row of a dozen hard-edged films spanning five Thursdays. With the exception of Stanley Kubrick’s 1955 gem, \u003cem>Killer’s Kiss\u003c/em> (Aug. 27), Lavine’s lowdown litany of low-budget losers and lovers (the same thing in the noir universe) are largely unknown even to connoisseurs of the genre. For details visit \u003ca href=\"http://iwakeupdreaming.com/\" target=\"_blank\" rel=\"noopener\">iwakeupdreaming.com\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876128\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876128\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/vancouverasahi640.jpg\" alt=\"Still from 'The Vancouver Asahi.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/vancouverasahi640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/vancouverasahi640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Vancouver Asahi.’\u003c/figcaption>\u003c/figure>\n\u003cp>Americans get a skewed snapshot of the contemporary Japanese cinema, with imports limited mainly to anime, samurai flicks and the occasional maudlin drama. The \u003ca href=\"http://jffsf.org/\" target=\"_blank\" rel=\"noopener\">Japan Film Festival\u003c/a>, screening Aug. 10-16 at New People Cinema under the auspices of the J-Pop Festival, widens the frame by several degrees. I’m intrigued by \u003cem>The Vancouver Asahi\u003c/em> (Aug. 8), which revisits the racism of the 1930s through a baseball team comprised of Canadian-born children of Japanese immigrants. (Giants left fielder Nori Aoki will be in Chicago with his teammates that weekend, so no chance of a surprise appearance.)\u003c/p>\n\u003cp>Another potential standout that explores Japanese history — and the Japanese character — from a sharp angle is Momoko Ando’s epic three-hour road movie, \u003cem>0.5mm\u003c/em>, adapted from her novel and starring her sister as a caregiver for the elderly. Festival guests include actor Tadanobu Asano with three films, including the opening night revival of the 2001 action film \u003cem>Electric Dragon 80,000V\u003c/em> at the Castro (Aug. 7), and anime director Koji Morimoto. For details visit \u003ca href=\"http://jffsf.org/\" target=\"_blank\" rel=\"noopener\">jffsf.org\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876213\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Field640.jpg\" alt=\"'Field Niggas.'\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Field640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Field640-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Field Niggas.’ (Photo: YBCA)\u003c/figcaption>\u003c/figure>\n\u003cp>Some people live their lives like a performance, even if they don’t have a reality show. Going through life that way can be an act of resistance and defiance to the dominant culture. A rare quality of inspiring provocation links the trio of uncompromising nonfiction works in the YBCA series \u003ca href=\"http://www.ybca.org/maggot-brains\" target=\"_blank\" rel=\"noopener\">\u003cem>Maggot Brains: Black Sci-Fi, Punk and Experimental Film\u003c/em>\u003c/a>. Presented in conjunction with the current exhibition, \u003cem>Radical Presence: Black Performance in Contemporary Art\u003c/em>, the series leads off with filmmaker Khalik Allah in the house with \u003cem>Field Niggas\u003c/em> (Aug. 15), his riveting one-hour portrait of the folks hanging out on the main Harlem corner of 125th and Lex. \u003cem>Bad Brains: A Band in DC\u003c/em> (Aug. 22) rings the changes of the punk-reggae pioneers, while the one-of-a-kind \u003cem>Last Angel of History\u003c/em> (Aug. 29) places outsider artists like George Clinton in a science-fiction context. Strangers in a strange land, so to speak. For details visit \u003ca href=\"http://www.ybca.org/maggot-brains\" target=\"_blank\" rel=\"noopener\">ybca.org/maggot-brains\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876211\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876211\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/manchuriancandidate-41-e1438632497486.jpg\" alt=\"Frank Sinatra in 'The Manchurian Candidate.'\" width=\"640\" height=\"367\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra in ‘The Manchurian Candidate.’\u003c/figcaption>\u003c/figure>\n\u003cp>Not a fan of Frank Sinatra the actor? Name another singer who could play dramatic roles with conviction and power. (Elvis? Streisand? Bowie? Sting? Harry Connick, Jr.? Bjork? I rest my case.) To celebrate the Chairman’s centenary, film programmer and \u003cem>Chronicle\u003c/em> writer Ruthe Stein is packing 11 flicks into a stamina-testing weekend of toe-tapping revelation. \u003ca href=\"http://www.voguesf.com/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra\u003c/a> (Aug. 21-23 at the Vogue) includes his Oscar-nominated performances in \u003cem>From Here to Eternity\u003c/em> and \u003cem>The Man With the Golden Arm\u003c/em>, as well as the underappreciated gems \u003cem>The Joker Is Wild and Suddenly\u003c/em>. If you’re content to be seduced by Sinatra’s voice, moves and style, set aside Saturday for the musicals \u003cem>Pal Joey\u003c/em>, \u003cem>Guys and Dolls\u003c/em>, \u003cem>Anchors Aweigh\u003c/em> and \u003cem>On the Town\u003c/em>. The greats truly live forever. For details visit \u003ca href=\"http://www.voguesf.com/\" target=\"_blank\" rel=\"noopener\">voguesf.com\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876210\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Being-Evel640.jpg\" alt=\"'Being Evel.'\" width=\"640\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Being-Evel640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Being-Evel640-400x257.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Being Evel.’\u003c/figcaption>\u003c/figure>\n\u003cp>You can get whiplash leaping from the ’50s to the ’70s or, in the case of extreme games pioneer Evel Knievel, launching your motorcycle over 14 Greyhound buses. In truth, Robert Craig Knievel of Butte, Montana, wasn’t an athlete so much as a showman and self-promoter. His jumps, over such “landmarks” as Caesars Palace’s fountains and Idaho’s Snake River Canyon, captured the country’s imagination and eyeballs throughout the 1970s. The star-spangled show-off was the ideal American hero (along with Bruce Jenner) for the Bicentennial. Daniel Junge’s garish documentary \u003cem>Being Evel\u003c/em> (Aug. 21-27 at the Roxie) reintroduces a figure driven to extraordinary lengths (and heights) to achieve celebrity. Dare I say it, he was ahead of his time. For details visit \u003ca href=\"http://www.roxie.com/ai1ec_event/being-evel/?instance_id=8216\" target=\"_blank\" rel=\"noopener\">roxie.com\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/i-wake-up-dreaming-2015-hot-summer-noir/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>I Wake Up Dreaming 2015: Hot Summer Noir\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 5-Sep. 3, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/i-wake-up-dreaming-2015-hot-summer-noir/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/japan-film-festival/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Japan Film Festival\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 7-16, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">New People Cinema\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/japan-film-festival/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maggot-brains-black-sci-fi-punk-and-experimental-film/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Maggot Brains: Black Sci-Fi, Punk and Experimental Film\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 15-29, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">YBCA\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maggot-brains-black-sci-fi-punk-and-experimental-film/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/being-evel/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Being Evel\u003c/h2>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 21-27, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Roxie Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/being-evel/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>August is low tide in the movie business. The dog days, effectively, provide a breather after the gargantuan superhero and super-dinosaur hits and before the wave of serious films vying for a place on the Oscar dais. Everyone seems slightly distracted this month, between kids gearing up to go back to school and adults grabbing one last weekend fling before the days get shorter. But if you can’t bear the thought of four weeks without a flickering projector, there are plenty of options.\u003c/p>\n\u003cp>The cynical, world-weary morality plays that Hollywood churned out in the 1940s and ‘50s mostly depicted corruption and injustice as institutionalized American values. After all, you couldn’t very well sell homespun hokum to World War II vets who’d watched the good die young while black marketers got rich. Hence the appeal of what the French critics embraced as film noir. \u003ca href=\"http://iwakeupdreaming.com/\" target=\"_blank\" rel=\"noopener\">I Wake Up Dreaming 2015: Hot Summer Noir\u003c/a> marks local programming savant Elliot Lavine’s first series at the Castro after years of packing the Roxie with noir enthusiasts. For the occasion, he’s assembled a murderers’ row of a dozen hard-edged films spanning five Thursdays. With the exception of Stanley Kubrick’s 1955 gem, \u003cem>Killer’s Kiss\u003c/em> (Aug. 27), Lavine’s lowdown litany of low-budget losers and lovers (the same thing in the noir universe) are largely unknown even to connoisseurs of the genre. For details visit \u003ca href=\"http://iwakeupdreaming.com/\" target=\"_blank\" rel=\"noopener\">iwakeupdreaming.com\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876128\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876128\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/vancouverasahi640.jpg\" alt=\"Still from 'The Vancouver Asahi.'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/vancouverasahi640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/vancouverasahi640-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘The Vancouver Asahi.’\u003c/figcaption>\u003c/figure>\n\u003cp>Americans get a skewed snapshot of the contemporary Japanese cinema, with imports limited mainly to anime, samurai flicks and the occasional maudlin drama. The \u003ca href=\"http://jffsf.org/\" target=\"_blank\" rel=\"noopener\">Japan Film Festival\u003c/a>, screening Aug. 10-16 at New People Cinema under the auspices of the J-Pop Festival, widens the frame by several degrees. I’m intrigued by \u003cem>The Vancouver Asahi\u003c/em> (Aug. 8), which revisits the racism of the 1930s through a baseball team comprised of Canadian-born children of Japanese immigrants. (Giants left fielder Nori Aoki will be in Chicago with his teammates that weekend, so no chance of a surprise appearance.)\u003c/p>\n\u003cp>Another potential standout that explores Japanese history — and the Japanese character — from a sharp angle is Momoko Ando’s epic three-hour road movie, \u003cem>0.5mm\u003c/em>, adapted from her novel and starring her sister as a caregiver for the elderly. Festival guests include actor Tadanobu Asano with three films, including the opening night revival of the 2001 action film \u003cem>Electric Dragon 80,000V\u003c/em> at the Castro (Aug. 7), and anime director Koji Morimoto. For details visit \u003ca href=\"http://jffsf.org/\" target=\"_blank\" rel=\"noopener\">jffsf.org\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876213\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876213\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Field640.jpg\" alt=\"'Field Niggas.'\" width=\"640\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Field640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Field640-400x268.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Field Niggas.’ (Photo: YBCA)\u003c/figcaption>\u003c/figure>\n\u003cp>Some people live their lives like a performance, even if they don’t have a reality show. Going through life that way can be an act of resistance and defiance to the dominant culture. A rare quality of inspiring provocation links the trio of uncompromising nonfiction works in the YBCA series \u003ca href=\"http://www.ybca.org/maggot-brains\" target=\"_blank\" rel=\"noopener\">\u003cem>Maggot Brains: Black Sci-Fi, Punk and Experimental Film\u003c/em>\u003c/a>. Presented in conjunction with the current exhibition, \u003cem>Radical Presence: Black Performance in Contemporary Art\u003c/em>, the series leads off with filmmaker Khalik Allah in the house with \u003cem>Field Niggas\u003c/em> (Aug. 15), his riveting one-hour portrait of the folks hanging out on the main Harlem corner of 125th and Lex. \u003cem>Bad Brains: A Band in DC\u003c/em> (Aug. 22) rings the changes of the punk-reggae pioneers, while the one-of-a-kind \u003cem>Last Angel of History\u003c/em> (Aug. 29) places outsider artists like George Clinton in a science-fiction context. Strangers in a strange land, so to speak. For details visit \u003ca href=\"http://www.ybca.org/maggot-brains\" target=\"_blank\" rel=\"noopener\">ybca.org/maggot-brains\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876211\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876211\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/manchuriancandidate-41-e1438632497486.jpg\" alt=\"Frank Sinatra in 'The Manchurian Candidate.'\" width=\"640\" height=\"367\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra in ‘The Manchurian Candidate.’\u003c/figcaption>\u003c/figure>\n\u003cp>Not a fan of Frank Sinatra the actor? Name another singer who could play dramatic roles with conviction and power. (Elvis? Streisand? Bowie? Sting? Harry Connick, Jr.? Bjork? I rest my case.) To celebrate the Chairman’s centenary, film programmer and \u003cem>Chronicle\u003c/em> writer Ruthe Stein is packing 11 flicks into a stamina-testing weekend of toe-tapping revelation. \u003ca href=\"http://www.voguesf.com/\" target=\"_blank\" rel=\"noopener\">Ring-A-Ding-Ding: The Movies of Frank Sinatra\u003c/a> (Aug. 21-23 at the Vogue) includes his Oscar-nominated performances in \u003cem>From Here to Eternity\u003c/em> and \u003cem>The Man With the Golden Arm\u003c/em>, as well as the underappreciated gems \u003cem>The Joker Is Wild and Suddenly\u003c/em>. If you’re content to be seduced by Sinatra’s voice, moves and style, set aside Saturday for the musicals \u003cem>Pal Joey\u003c/em>, \u003cem>Guys and Dolls\u003c/em>, \u003cem>Anchors Aweigh\u003c/em> and \u003cem>On the Town\u003c/em>. The greats truly live forever. For details visit \u003ca href=\"http://www.voguesf.com/\" target=\"_blank\" rel=\"noopener\">voguesf.com\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10876210\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10876210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Being-Evel640.jpg\" alt=\"'Being Evel.'\" width=\"640\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Being-Evel640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Being-Evel640-400x257.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Being Evel.’\u003c/figcaption>\u003c/figure>\n\u003cp>You can get whiplash leaping from the ’50s to the ’70s or, in the case of extreme games pioneer Evel Knievel, launching your motorcycle over 14 Greyhound buses. In truth, Robert Craig Knievel of Butte, Montana, wasn’t an athlete so much as a showman and self-promoter. His jumps, over such “landmarks” as Caesars Palace’s fountains and Idaho’s Snake River Canyon, captured the country’s imagination and eyeballs throughout the 1970s. The star-spangled show-off was the ideal American hero (along with Bruce Jenner) for the Bicentennial. Daniel Junge’s garish documentary \u003cem>Being Evel\u003c/em> (Aug. 21-27 at the Roxie) reintroduces a figure driven to extraordinary lengths (and heights) to achieve celebrity. Dare I say it, he was ahead of his time. For details visit \u003ca href=\"http://www.roxie.com/ai1ec_event/being-evel/?instance_id=8216\" target=\"_blank\" rel=\"noopener\">roxie.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Late in a series of bruising televised debates on ABC tied to the momentous Republican and Democratic Conventions of 1968, Gore Vidal beamed one of his supercilious side-eyes at William F. Buckley Jr. and called him a “crypto-fascist.” Buckley bared his teeth, branded Vidal a “queer” and threatened to rearrange his face.\u003c/p>\n\u003cp>You may be wondering why upper-crust privilege failed to inhibit a couple of brilliant intellectuals from carrying on like 8-year-olds in the schoolyard. More likely, you’re unfazed because trading insults in public is commonplace these days. That, in part, is the point of \u003cem>Best of Enemies\u003c/em>, an ambitious documentary that frames the faceoff between these two massively entitled egos as a milestone in the intertwined histories of television, politics and culture. When their habitual repartee — a barbed counterpoint to the politely “balanced” musings of NBC’s nightly newscast, \u003cem>The Huntley-Brinkley Report \u003c/em>— tipped over into pure vitriol, filmmakers Morgan Neville and Robert Gordon argue, it set the stage for the media wars of today.\u003c/p>\n\u003cp>That may be a reach, if only because television punditry remains pretty anodyne in the 21st century, while few, if any of today’s radio shock jocks and Internet screamers can be compared to Buckley or Vidal. Genuine public intellectuals are an endangered species these days, and may indeed have become extinct with the recent death of Christopher Hitchens, who appears posthumously in the film as one of many amused and bemused witnesses to the Vidal-Buckley feud.\u003c/p>\n\u003cp>Equal parts brash entertainment and cultural alarm bell, \u003cem>Best of Enemies\u003c/em> bowls along smartly, with clips from the tapes spiced with intelligently snarky asides from friends and adversaries of the two men, and spliced with archival footage of the tumultuous times they addressed. Trailing badly in the ratings, ABC went out on a limb and paired up two pundits from opposite ends of the political spectrum, who could speak to the swelling conflicts of race, class and gender at home, and American imperialism abroad, without reducing them to pap.\u003c/p>\n\u003cp>As living-room wars go, theirs was without parallel. On the face of it the two men were as irreconcilably different as they could be. Buckley was a devout Catholic traditionalist who founded the modern conservative movement and palled around with Ronald Reagan. Vidal was an acclaimed writer of historical novels, a liberal and a champion of sexual freedom whose satirical novel, \u003cem>Myra Breckinridge\u003c/em>, was made into a magnificently terrible movie with Raquel Welch as a trans-gendered siren who visits mayhem on Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watching the two men square off, though, it seems likely that their intense competition escalated less from their differences than from what they shared. Both came from gilded families. Both spoke in complete, gold-plated paragraphs; both were given to apocalyptic pronouncements. Today they’d be avid Tweeters, but Buckley and Vidal also shared an erudite sense of history, a breadth of vision and the sense of a common culture that’s all but lost in today’s single-issue wars. Each in his way was a libertarian maverick unable to fit neatly into his party of affiliation. Both had tried and failed to win public office — only to succeed brilliantly in the brashly populist medium that gave them their bully pulpit.\u003c/p>\n\u003cp>“We gave them their money’s worth tonight,” whispered Vidal to a visibly shaken Buckley after eviscerating him in the war of words that brought their mutual antipathy to a head. It wasn’t just a show: as every witness in the film agrees, the two men — de facto sibling rivals — genuinely loathed one another.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The epic climax is fun to watch, but nothing good came of it. There was suit and countersuit, and years later, the otherwise irrepressible Buckley was reduced to silence when someone mentioned it. Was he humiliated because he lost, or because he felt he had disgraced himself? \u003cem>Best of Enemies\u003c/em> doesn’t try for a glib answer, but watching this enormously entertaining movie (Neville also made the wonderful back-up singer doc, \u003cem>20 Feet From Stardom\u003c/em>), I felt complicit in a spectacle, a gladiator fight that probably should never have gone public. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=In+1968%2C+The+%27Best+Of+Enemies%27+Faced+Off+In+A+Brutal%2C+Televised+Feud&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Late in a series of bruising televised debates on ABC tied to the momentous Republican and Democratic Conventions of 1968, Gore Vidal beamed one of his supercilious side-eyes at William F. Buckley Jr. and called him a “crypto-fascist.” Buckley bared his teeth, branded Vidal a “queer” and threatened to rearrange his face.\u003c/p>\n\u003cp>You may be wondering why upper-crust privilege failed to inhibit a couple of brilliant intellectuals from carrying on like 8-year-olds in the schoolyard. More likely, you’re unfazed because trading insults in public is commonplace these days. That, in part, is the point of \u003cem>Best of Enemies\u003c/em>, an ambitious documentary that frames the faceoff between these two massively entitled egos as a milestone in the intertwined histories of television, politics and culture. When their habitual repartee — a barbed counterpoint to the politely “balanced” musings of NBC’s nightly newscast, \u003cem>The Huntley-Brinkley Report \u003c/em>— tipped over into pure vitriol, filmmakers Morgan Neville and Robert Gordon argue, it set the stage for the media wars of today.\u003c/p>\n\u003cp>That may be a reach, if only because television punditry remains pretty anodyne in the 21st century, while few, if any of today’s radio shock jocks and Internet screamers can be compared to Buckley or Vidal. Genuine public intellectuals are an endangered species these days, and may indeed have become extinct with the recent death of Christopher Hitchens, who appears posthumously in the film as one of many amused and bemused witnesses to the Vidal-Buckley feud.\u003c/p>\n\u003cp>Equal parts brash entertainment and cultural alarm bell, \u003cem>Best of Enemies\u003c/em> bowls along smartly, with clips from the tapes spiced with intelligently snarky asides from friends and adversaries of the two men, and spliced with archival footage of the tumultuous times they addressed. Trailing badly in the ratings, ABC went out on a limb and paired up two pundits from opposite ends of the political spectrum, who could speak to the swelling conflicts of race, class and gender at home, and American imperialism abroad, without reducing them to pap.\u003c/p>\n\u003cp>As living-room wars go, theirs was without parallel. On the face of it the two men were as irreconcilably different as they could be. Buckley was a devout Catholic traditionalist who founded the modern conservative movement and palled around with Ronald Reagan. Vidal was an acclaimed writer of historical novels, a liberal and a champion of sexual freedom whose satirical novel, \u003cem>Myra Breckinridge\u003c/em>, was made into a magnificently terrible movie with Raquel Welch as a trans-gendered siren who visits mayhem on Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watching the two men square off, though, it seems likely that their intense competition escalated less from their differences than from what they shared. Both came from gilded families. Both spoke in complete, gold-plated paragraphs; both were given to apocalyptic pronouncements. Today they’d be avid Tweeters, but Buckley and Vidal also shared an erudite sense of history, a breadth of vision and the sense of a common culture that’s all but lost in today’s single-issue wars. Each in his way was a libertarian maverick unable to fit neatly into his party of affiliation. Both had tried and failed to win public office — only to succeed brilliantly in the brashly populist medium that gave them their bully pulpit.\u003c/p>\n\u003cp>“We gave them their money’s worth tonight,” whispered Vidal to a visibly shaken Buckley after eviscerating him in the war of words that brought their mutual antipathy to a head. It wasn’t just a show: as every witness in the film agrees, the two men — de facto sibling rivals — genuinely loathed one another.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The epic climax is fun to watch, but nothing good came of it. There was suit and countersuit, and years later, the otherwise irrepressible Buckley was reduced to silence when someone mentioned it. Was he humiliated because he lost, or because he felt he had disgraced himself? \u003cem>Best of Enemies\u003c/em> doesn’t try for a glib answer, but watching this enormously entertaining movie (Neville also made the wonderful back-up singer doc, \u003cem>20 Feet From Stardom\u003c/em>), I felt complicit in a spectacle, a gladiator fight that probably should never have gone public. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=In+1968%2C+The+%27Best+Of+Enemies%27+Faced+Off+In+A+Brutal%2C+Televised+Feud&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Almost three years ago, Joshua Oppenheimer unveiled \u003cem>The Act of Killing\u003c/em>, a startling documentary about the 1965-66 mass killings in Indonesia. Its audacious ploy was to encourage unrepentant murderers to re-enact their deeds in the form of scenes from action flicks, a tactic that was extremely well-received by Western critics.\u003c/p>\n\u003cp>The gimmick yielded some sequences that were cathartic, but others that were at best distracting. At times, the film trivialized a subject that Oppenheimer clearly took very seriously. Widespread acclaim for the documentary seemed to reflect its emphasis on something movie reviewers know well — movies — over the considerably more obscure subject of Indonesian history.\u003c/p>\n\u003cp>Of course, both Westerners and Indonesians have good reason to know little about the horrific episode broached by Oppenheimer’s films: It’s a taboo subject, one the Denmark-based American filmmaker is nearly alone in addressing. He does so much more effectively in \u003cem>The Look of Silence\u003c/em>, which uses members of a single family to represent the millions of victims and survivors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HtAohrVK7qc\u003c/p>\n\u003cp>Obeying the strictures of cinema verite, the director generally avoids historical context. But he couldn’t resist the clip that opens \u003cem>The Look of Silence\u003c/em>: a 1967 TV news report in which an NBC correspondent exults in the “purge” of communists from Indonesia. He interviews a local man who says, with earnest absurdity, that some of the alleged communists actually asked to be killed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The nationwide murder spree did target members of the Indonesian Communist Party, but also labor unionists, ethnic Chinese, and people — whether Muslim or Hindu — who were considered irreligious. Among the victims was Ramli, extraordinary not for who he was, but because his killing was witnessed and his name and fate became widely known.\u003c/p>\n\u003cp>Oppenheimer and his Indonesian colleagues — many of them listed in the credits as “anonymous” — filmed Ramli’s executioners a decade ago, early in the process that led to the two films. Later, the director met Ramli’s brother, pseudonymously identified in the movie as Adi. The younger man had been born two years after Ramli’s death as a sort of substitute son for his parents, who are now over 100.\u003c/p>\n\u003cp>Adi is a middle-aged optician whose profession provides the movie with a ready-made metaphor. The camera observes Adi as he simultaneously evaluates people for glasses and asks them about the slaughter. He is quiet but determined, and phenomenally unafraid. “Joshua never asked questions this deep,” complains one former death-squad leader in response to Adi’s detailed interrogation.\u003c/p>\n\u003cp>\u003cem>The Look of Silence\u003c/em> is a subtler film than its predecessor, but the madness of the killers comes across, notably in their repeated admissions of drinking victims’ blood. “America taught us to hate communists,” explains one veteran of the grisly campaign, but once the slayings began they were guided as much by superstition and tribal conflict as by any claimed American involvement. A man blithely recalls how he brought a severed head to a Chinese-owned coffee shop to scare the proprietors. Such atavistic behavior has nothing to do with geopolitics.\u003c/p>\n\u003cp>The movie sticks closely to Adi and his parents. It even includes a scene of the family’s senile patriarch, confused and fearful, that was shot by Adi himself. But in searching for information about the brother he never knew, Adi opens the door to a much broader investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A former death-squad commander who became a prominent local politician warns that, if troublemakers don’t stop asking questions, another round of slayings will occur. The opposite of that prophecy seems more likely true: that only the challenges of brave people like Adi and uncompromising movies like \u003cem>The Look of Silence\u003c/em> can immunize Indonesia against another internecine slaughter.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost three years ago, Joshua Oppenheimer unveiled \u003cem>The Act of Killing\u003c/em>, a startling documentary about the 1965-66 mass killings in Indonesia. Its audacious ploy was to encourage unrepentant murderers to re-enact their deeds in the form of scenes from action flicks, a tactic that was extremely well-received by Western critics.\u003c/p>\n\u003cp>The gimmick yielded some sequences that were cathartic, but others that were at best distracting. At times, the film trivialized a subject that Oppenheimer clearly took very seriously. Widespread acclaim for the documentary seemed to reflect its emphasis on something movie reviewers know well — movies — over the considerably more obscure subject of Indonesian history.\u003c/p>\n\u003cp>Of course, both Westerners and Indonesians have good reason to know little about the horrific episode broached by Oppenheimer’s films: It’s a taboo subject, one the Denmark-based American filmmaker is nearly alone in addressing. He does so much more effectively in \u003cem>The Look of Silence\u003c/em>, which uses members of a single family to represent the millions of victims and survivors.\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/HtAohrVK7qc'\n title='//www.youtube.com/embed/HtAohrVK7qc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Obeying the strictures of cinema verite, the director generally avoids historical context. But he couldn’t resist the clip that opens \u003cem>The Look of Silence\u003c/em>: a 1967 TV news report in which an NBC correspondent exults in the “purge” of communists from Indonesia. He interviews a local man who says, with earnest absurdity, that some of the alleged communists actually asked to be killed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nationwide murder spree did target members of the Indonesian Communist Party, but also labor unionists, ethnic Chinese, and people — whether Muslim or Hindu — who were considered irreligious. Among the victims was Ramli, extraordinary not for who he was, but because his killing was witnessed and his name and fate became widely known.\u003c/p>\n\u003cp>Oppenheimer and his Indonesian colleagues — many of them listed in the credits as “anonymous” — filmed Ramli’s executioners a decade ago, early in the process that led to the two films. Later, the director met Ramli’s brother, pseudonymously identified in the movie as Adi. The younger man had been born two years after Ramli’s death as a sort of substitute son for his parents, who are now over 100.\u003c/p>\n\u003cp>Adi is a middle-aged optician whose profession provides the movie with a ready-made metaphor. The camera observes Adi as he simultaneously evaluates people for glasses and asks them about the slaughter. He is quiet but determined, and phenomenally unafraid. “Joshua never asked questions this deep,” complains one former death-squad leader in response to Adi’s detailed interrogation.\u003c/p>\n\u003cp>\u003cem>The Look of Silence\u003c/em> is a subtler film than its predecessor, but the madness of the killers comes across, notably in their repeated admissions of drinking victims’ blood. “America taught us to hate communists,” explains one veteran of the grisly campaign, but once the slayings began they were guided as much by superstition and tribal conflict as by any claimed American involvement. A man blithely recalls how he brought a severed head to a Chinese-owned coffee shop to scare the proprietors. Such atavistic behavior has nothing to do with geopolitics.\u003c/p>\n\u003cp>The movie sticks closely to Adi and his parents. It even includes a scene of the family’s senile patriarch, confused and fearful, that was shot by Adi himself. But in searching for information about the brother he never knew, Adi opens the door to a much broader investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A former death-squad commander who became a prominent local politician warns that, if troublemakers don’t stop asking questions, another round of slayings will occur. The opposite of that prophecy seems more likely true: that only the challenges of brave people like Adi and uncompromising movies like \u003cem>The Look of Silence\u003c/em> can immunize Indonesia against another internecine slaughter.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "First Clip of Lifetime's 'Full House' Movie Will Destroy Your Childhood Memories",
"title": "First Clip of Lifetime's 'Full House' Movie Will Destroy Your Childhood Memories",
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"content": "\u003cp>[contextly_sidebar id=\"Lkia8tfIGJOI3MhbxCArWJkZTQ3eI3Oq\"]Last month, I wrote \"This is what the \u003cem>Full House\u003c/em> cast would have looked like in an alternate dimension where everything right is wrong\" about the atrocity that is \u003ca href=\"http://ww2.kqed.org/pop/2015/06/04/first-photo-of-lifetimes-full-house-tv-movie-will-damage-your-vision/\" target=\"_blank\">the first official cast photo from Lifetime's \u003cem>Full House\u003c/em> movie\u003c/a>. They couldn't find someone better than an ex of Miley Cyrus to pay homage to most '90s girls and gay boys' first crush Uncle Jesse. Same goes for the actor cast as Danny Tanner, whose most interesting credit on IMDb is that he played a Marine in \u003cem>Pirates of the Caribbean\u003c/em>…the video game. And the geometric shapes, funky musical notes and yarn people adornments from the Tanner girls' outfits were swapped out for boring floral patterns. It can't get any worse, I thought.\u003c/p>\n\u003cp>But it just did with this clip from the movie. Let's watch, shall we?\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" scrolling=\"no\" frameborder=\"0\" src=\"https://tv.yahoo.com/video/unauthorized-full-house-story-201253010.html?format=embed\" allowfullscreen=\"true\" mozallowfullscreen=\"true\" webkitallowfullscreen=\"true\" allowtransparency=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Okay, wait. Why are they in the living room from \u003cem>Everybody Loves Raymond\u003c/em>? It's like these producers have never even seen an episode of the show. Anyway, I digress...\u003c/p>\n\u003cp>The gang tries to stop Uncle Joey from dumping Michelle outside. Dark. Then, Uncle Jesse talks smack about the stupid babies he has to work with and tries to get them fired. And then Danny Tanner talks about wanting to install a pole and invite some strippers over in front of a young bemused Stephanie. Yikes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As if this clip wasn't enough, Lifetime released more photos from the set. Because I'm a masochist, I'm going to go through and analyze them:\u003c/p>\n\u003cfigure id=\"attachment_17411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery19.jpg\">\u003cimg class=\"wp-image-17411 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery19-800x1200.jpg\" alt=\"movies-tufhs-gallery19\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Those creepy twins from \u003cem>The Shining\u003c/em> haven't aged a day!\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery20.jpg\">\u003cimg class=\"wp-image-17410 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery20-800x490.jpg\" alt=\"movies-tufhs-gallery20\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Was the budget on this project so low that they couldn't afford to hire a real dog to play Comet? Dear goddess, I hope so. If this movie is going to be this terrible, it might as well camp it up.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery22.jpg\">\u003cimg class=\"wp-image-17409 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery22-800x490.jpg\" alt=\"movies-tufhs-gallery22\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Looking over the Miley breakup texts. Stephanie is on her side.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery24.jpg\">\u003cimg class=\"wp-image-17407 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery24-800x490.jpg\" alt=\"movies-tufhs-gallery24\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>The only thing San Franciscan about this living room is the subtle copy of \u003cem>San Francisco\u003c/em> magazine on the table. Nice work, set designers! Do Uncle Jesse and Michelle know there's a creepy lady intruder hiding next to the couch? Maybe Comet, who's kicking it in the background, would protect them, if he wasn't a stuffed animal.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery28.jpg\">\u003cimg class=\"wp-image-17405 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery28-800x490.jpg\" alt=\"movies-tufhs-gallery28\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>This child actress is meeting with her lawyers. She plans to sue her parents for signing her up for this trainwreck of a TV movie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery27.jpg\">\u003cimg class=\"wp-image-17406 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery27-800x490.jpg\" alt=\"movies-tufhs-gallery27\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Kimmy Gibbler is KILLING IT in the background, as she always does. And eternal HA HA HAs are in order for those insane wigs they put on Nicky and Alex. Oh no, I'm starting to get excited for this mess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Are the producers idiots or evil geniuses? We'll find out on August 22, when \u003cem>The Unauthorized Full House Story\u003c/em> premieres on Lifetime.\u003c/p>\n\n",
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"excerpt": "John Stamos wants to fire the Olsen twins and Bob Saget wants strippers on set in the first clip from the Full House TV movie.",
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"description": "John Stamos wants to fire the Olsen twins and Bob Saget wants strippers on set in the first clip from the Full House TV movie.",
"title": "First Clip of Lifetime's 'Full House' Movie Will Destroy Your Childhood Memories | KQED",
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"headline": "First Clip of Lifetime's 'Full House' Movie Will Destroy Your Childhood Memories",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Last month, I wrote \"This is what the \u003cem>Full House\u003c/em> cast would have looked like in an alternate dimension where everything right is wrong\" about the atrocity that is \u003ca href=\"http://ww2.kqed.org/pop/2015/06/04/first-photo-of-lifetimes-full-house-tv-movie-will-damage-your-vision/\" target=\"_blank\">the first official cast photo from Lifetime's \u003cem>Full House\u003c/em> movie\u003c/a>. They couldn't find someone better than an ex of Miley Cyrus to pay homage to most '90s girls and gay boys' first crush Uncle Jesse. Same goes for the actor cast as Danny Tanner, whose most interesting credit on IMDb is that he played a Marine in \u003cem>Pirates of the Caribbean\u003c/em>…the video game. And the geometric shapes, funky musical notes and yarn people adornments from the Tanner girls' outfits were swapped out for boring floral patterns. It can't get any worse, I thought.\u003c/p>\n\u003cp>But it just did with this clip from the movie. Let's watch, shall we?\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"640\" height=\"360\" scrolling=\"no\" frameborder=\"0\" src=\"https://tv.yahoo.com/video/unauthorized-full-house-story-201253010.html?format=embed\" allowfullscreen=\"true\" mozallowfullscreen=\"true\" webkitallowfullscreen=\"true\" allowtransparency=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Okay, wait. Why are they in the living room from \u003cem>Everybody Loves Raymond\u003c/em>? It's like these producers have never even seen an episode of the show. Anyway, I digress...\u003c/p>\n\u003cp>The gang tries to stop Uncle Joey from dumping Michelle outside. Dark. Then, Uncle Jesse talks smack about the stupid babies he has to work with and tries to get them fired. And then Danny Tanner talks about wanting to install a pole and invite some strippers over in front of a young bemused Stephanie. Yikes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As if this clip wasn't enough, Lifetime released more photos from the set. Because I'm a masochist, I'm going to go through and analyze them:\u003c/p>\n\u003cfigure id=\"attachment_17411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery19.jpg\">\u003cimg class=\"wp-image-17411 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery19-800x1200.jpg\" alt=\"movies-tufhs-gallery19\" width=\"800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19-960x1440.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery19.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Those creepy twins from \u003cem>The Shining\u003c/em> haven't aged a day!\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery20.jpg\">\u003cimg class=\"wp-image-17410 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery20-800x490.jpg\" alt=\"movies-tufhs-gallery20\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery20.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Was the budget on this project so low that they couldn't afford to hire a real dog to play Comet? Dear goddess, I hope so. If this movie is going to be this terrible, it might as well camp it up.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery22.jpg\">\u003cimg class=\"wp-image-17409 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery22-800x490.jpg\" alt=\"movies-tufhs-gallery22\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery22.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Looking over the Miley breakup texts. Stephanie is on her side.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery24.jpg\">\u003cimg class=\"wp-image-17407 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery24-800x490.jpg\" alt=\"movies-tufhs-gallery24\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery24.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>The only thing San Franciscan about this living room is the subtle copy of \u003cem>San Francisco\u003c/em> magazine on the table. Nice work, set designers! Do Uncle Jesse and Michelle know there's a creepy lady intruder hiding next to the couch? Maybe Comet, who's kicking it in the background, would protect them, if he wasn't a stuffed animal.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery28.jpg\">\u003cimg class=\"wp-image-17405 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery28-800x490.jpg\" alt=\"movies-tufhs-gallery28\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery28.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>This child actress is meeting with her lawyers. She plans to sue her parents for signing her up for this trainwreck of a TV movie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_17406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery27.jpg\">\u003cimg class=\"wp-image-17406 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/movies-tufhs-gallery27-800x490.jpg\" alt=\"movies-tufhs-gallery27\" width=\"800\" height=\"490\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-800x490.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-400x245.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-1440x881.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-1180x722.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27-960x588.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/movies-tufhs-gallery27.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Lifetime\u003c/figcaption>\u003c/figure>\n\u003cp>Kimmy Gibbler is KILLING IT in the background, as she always does. And eternal HA HA HAs are in order for those insane wigs they put on Nicky and Alex. Oh no, I'm starting to get excited for this mess.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Are the producers idiots or evil geniuses? We'll find out on August 22, when \u003cem>The Unauthorized Full House Story\u003c/em> premieres on Lifetime.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Building a Fantasy World on a Student Budget: So You’ve Grown Attached",
"headTitle": "Building a Fantasy World on a Student Budget: So You’ve Grown Attached | KQED",
"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Go behind the scenes of \u003cem>So You’ve Grown Attached\u003c/em> with filmmaker Kate Tsang, as she offers tips on to get the most bang for your budget buck.\u003c/p>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=S3xD9i1zN24?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span>\u003c/p>\n\u003ch3>See the full film!\u003c/h3>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=VIZRJqLoOpY?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/31/building-a-fantasy-world-on-a-student-budget-so-youve-grown-attached/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/31/building-a-fantasy-world-on-a-student-budget-so-youve-grown-attached/\" target=\"_blank\" title=\"Building a Fantasy World on a Student Budget: So You’ve Grown Attached\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Go behind the scenes of \u003cem>So You've Grown Attached\u003c/em> with filmmaker Kate Tsang, as she offers tips on to get the most bang for your budget buck.\u003c/p>\n\u003cspan>[youtube http://www.youtube.com/watch?v=S3xD9i1zN24?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span>\n\u003ch3>See the full film!\u003c/h3>\n\u003cspan>[youtube http://www.youtube.com/watch?v=VIZRJqLoOpY?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/31/building-a-fantasy-world-on-a-student-budget-so-youve-grown-attached/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "Building a Fantasy World on a Student Budget: So You’ve Grown Attached | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Go behind the scenes of \u003cem>So You’ve Grown Attached\u003c/em> with filmmaker Kate Tsang, as she offers tips on to get the most bang for your budget buck.\u003c/p>\n\u003cp>\u003cspan>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S3xD9i1zN24?version=3'\n title='//www.youtube.com/embed/S3xD9i1zN24?version=3'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003ch3>See the full film!\u003c/h3>\n\u003cp>\u003cspan>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VIZRJqLoOpY?version=3'\n title='//www.youtube.com/embed/VIZRJqLoOpY?version=3'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/31/building-a-fantasy-world-on-a-student-budget-so-youve-grown-attached/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/31/building-a-fantasy-world-on-a-student-budget-so-youve-grown-attached/\" target=\"_blank\" title=\"Building a Fantasy World on a Student Budget: So You’ve Grown Attached\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As classes gave way to summer vacation on the Stanford campus of 1971, psychology professor Philip Zimbardo convened 24 paid volunteers in an empty building for a two-week study of prison dynamics. Randomly dividing his all-male participants into prisoners and guards with coin flips, Dr. Zimbardo set in motion a role-playing exercise that almost immediately veered out of control.\u003c/p>\n\u003cp>My casual understanding of the Stanford prison experiment, prior to seeing LA indie filmmaker Kyle Patrick Alvarez’s claustrophobic and disturbing \u003cem>The Stanford Prison Experiment\u003c/em> (which opened yesterday in the Bay Area), was that ordinary young men had seized an opportunity to inflict pain on other ordinary young men, abusing their authority and overstepping rational boundaries.\u003c/p>\n\u003cp>One could extrapolate these results beyond prisons to attempt to understand the incomprehensible — the aggregate efforts of thousands of ordinary Germans in the discrimination, deportation and murder of millions of European Jews, homosexuals and Romani.\u003c/p>\n\u003cp>https://youtu.be/7LviGTHud5w\u003c/p>\n\u003cp>Dr. Zimbardo didn’t get around to finishing and publishing a book about his experiment, \u003cem>The Lucifer Effect: Understanding How Good People Turn Evil\u003c/em>, until 2007. But the subtitle explicitly references the question asked about Germany since 1945. (Of course, there’s no single, comfortable answer.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Dr. Zimbardo wasn’t thinking about the Nazis. In fact, the impetus for \u003cem>The Lucifer Effect\u003c/em>, he noted in an interview this week at a Nob Hill hotel, was his preparation to be an expert witness on behalf of Sgt. “Chip” Frederick in a 2004 court martial. The defendant was a guard in a prison commonly referred to as Abu Ghraib.\u003c/p>\n\u003cfigure id=\"attachment_10859614\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10859614\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SPE2.jpg\" alt=\"Billy Crudup as Dr. Philip Zimbardo in 'The Stanford Prison Experiment.' (Photo: Steve Dietl/IFC Films)\" width=\"640\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE2-400x166.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Billy Crudup as Dr. Philip Zimbardo in ‘The Stanford Prison Experiment.’ (Photo: Steve Dietl/IFC Films)\u003c/figcaption>\u003c/figure>\n\u003cp>“In that role, I got to know everything about that prison,” Dr. Zimbardo recalls. “I read all the reports. The parallels with the Stanford prison study were remarkable, at every level. And I had not even thought about [the study] for 20, 30 years. I had to go back and revisit it.”\u003c/p>\n\u003cp>Watching the original videotapes of his experiment, Dr. Zimbardo was reinvigorated by the realization that what he calls “this little study” from many years earlier had relevance in a wide range of situations.\u003c/p>\n\u003cp>“We’re talking about how people are changed by the position,” he explains. “You give somebody power in a setting where that power is validated, and you become the thing. You become a policemen, you become a father, you become the superintendent of prisons, whatever.”\u003c/p>\n\u003cp>The Stanford prison experiment has become part of the lexicon (even if it’s occasionally misapplied or misunderstood) precisely because almost everyone has experienced a moment — as a camp counselor, or babysitter, or older sibling — when power went to our head. No wonder Alvarez reacts so vociferously when asked why \u003cem>The Stanford Prison Experiment\u003c/em> is coming out now.\u003c/p>\n\u003cfigure id=\"attachment_10859615\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10859615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SPE3.jpg\" alt=\"Director Kyle Alvarez at center in 'The Stanford Prison Experiment.' (Photo: Steve Dietl/IFC Films)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE3-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Kyle Alvarez at center in ‘The Stanford Prison Experiment.’ (Photo: Steve Dietl/IFC Films)\u003c/figcaption>\u003c/figure>\n\u003cp>“To me, the real question is when wouldn’t there be a ‘why now’?” he declares. “We didn’t know the week the movie was released that the President was going to go visit a prison. We didn’t know that police brutality was going to be in conversations. There’s almost any given moment that’s appropriate to put [this] movie out there.”\u003c/p>\n\u003cp>It’s a little disconcerting to talk about the dark side of human nature in the lobby of an upscale hotel while relaxing tourists ponder their dinner plans. The conversation turns to the hypothetical results of a contemporary Stanford study, with young men raised on video games and the internet (and with a presumed decline in empathy and social skills).\u003c/p>\n\u003cp>Dr. Zimbardo reminds us that his 1971 study took place near the height of the counterculture, when independence and rebellion were cherished values. And yet the behavior of the guards compelled him to intercede before the planned two-week experiment ran its course. I submit that last tidbit as enticement to see \u003cem>The Stanford Prison Experiment\u003c/em>, though I should add a caveat.\u003c/p>\n\u003cp>I’ve emphasized the ramifications of the guards’ behavior from a social and political perspective, yet the movie focuses more on the demoralizing, destructive effect of that behavior on the prisoners. Alvarez explains his slant by noting that it’s more difficult for a film to depict the evolving, unarticulated thought process of a guard than the external breakdown of a prisoner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So bring all your big-picture reference points, but keep in mind Alvarez’s mantra throughout the development of \u003cem>The Stanford Prison Experiment\u003c/em>: “No matter what, this is a movie about a bunch of young guys trapped in a hallway.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As classes gave way to summer vacation on the Stanford campus of 1971, psychology professor Philip Zimbardo convened 24 paid volunteers in an empty building for a two-week study of prison dynamics. Randomly dividing his all-male participants into prisoners and guards with coin flips, Dr. Zimbardo set in motion a role-playing exercise that almost immediately veered out of control.\u003c/p>\n\u003cp>My casual understanding of the Stanford prison experiment, prior to seeing LA indie filmmaker Kyle Patrick Alvarez’s claustrophobic and disturbing \u003cem>The Stanford Prison Experiment\u003c/em> (which opened yesterday in the Bay Area), was that ordinary young men had seized an opportunity to inflict pain on other ordinary young men, abusing their authority and overstepping rational boundaries.\u003c/p>\n\u003cp>One could extrapolate these results beyond prisons to attempt to understand the incomprehensible — the aggregate efforts of thousands of ordinary Germans in the discrimination, deportation and murder of millions of European Jews, homosexuals and Romani.\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/7LviGTHud5w'\n title='//www.youtube.com/embed/7LviGTHud5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dr. Zimbardo didn’t get around to finishing and publishing a book about his experiment, \u003cem>The Lucifer Effect: Understanding How Good People Turn Evil\u003c/em>, until 2007. But the subtitle explicitly references the question asked about Germany since 1945. (Of course, there’s no single, comfortable answer.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Dr. Zimbardo wasn’t thinking about the Nazis. In fact, the impetus for \u003cem>The Lucifer Effect\u003c/em>, he noted in an interview this week at a Nob Hill hotel, was his preparation to be an expert witness on behalf of Sgt. “Chip” Frederick in a 2004 court martial. The defendant was a guard in a prison commonly referred to as Abu Ghraib.\u003c/p>\n\u003cfigure id=\"attachment_10859614\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10859614\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SPE2.jpg\" alt=\"Billy Crudup as Dr. Philip Zimbardo in 'The Stanford Prison Experiment.' (Photo: Steve Dietl/IFC Films)\" width=\"640\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE2-400x166.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Billy Crudup as Dr. Philip Zimbardo in ‘The Stanford Prison Experiment.’ (Photo: Steve Dietl/IFC Films)\u003c/figcaption>\u003c/figure>\n\u003cp>“In that role, I got to know everything about that prison,” Dr. Zimbardo recalls. “I read all the reports. The parallels with the Stanford prison study were remarkable, at every level. And I had not even thought about [the study] for 20, 30 years. I had to go back and revisit it.”\u003c/p>\n\u003cp>Watching the original videotapes of his experiment, Dr. Zimbardo was reinvigorated by the realization that what he calls “this little study” from many years earlier had relevance in a wide range of situations.\u003c/p>\n\u003cp>“We’re talking about how people are changed by the position,” he explains. “You give somebody power in a setting where that power is validated, and you become the thing. You become a policemen, you become a father, you become the superintendent of prisons, whatever.”\u003c/p>\n\u003cp>The Stanford prison experiment has become part of the lexicon (even if it’s occasionally misapplied or misunderstood) precisely because almost everyone has experienced a moment — as a camp counselor, or babysitter, or older sibling — when power went to our head. No wonder Alvarez reacts so vociferously when asked why \u003cem>The Stanford Prison Experiment\u003c/em> is coming out now.\u003c/p>\n\u003cfigure id=\"attachment_10859615\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10859615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SPE3.jpg\" alt=\"Director Kyle Alvarez at center in 'The Stanford Prison Experiment.' (Photo: Steve Dietl/IFC Films)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SPE3-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Director Kyle Alvarez at center in ‘The Stanford Prison Experiment.’ (Photo: Steve Dietl/IFC Films)\u003c/figcaption>\u003c/figure>\n\u003cp>“To me, the real question is when wouldn’t there be a ‘why now’?” he declares. “We didn’t know the week the movie was released that the President was going to go visit a prison. We didn’t know that police brutality was going to be in conversations. There’s almost any given moment that’s appropriate to put [this] movie out there.”\u003c/p>\n\u003cp>It’s a little disconcerting to talk about the dark side of human nature in the lobby of an upscale hotel while relaxing tourists ponder their dinner plans. The conversation turns to the hypothetical results of a contemporary Stanford study, with young men raised on video games and the internet (and with a presumed decline in empathy and social skills).\u003c/p>\n\u003cp>Dr. Zimbardo reminds us that his 1971 study took place near the height of the counterculture, when independence and rebellion were cherished values. And yet the behavior of the guards compelled him to intercede before the planned two-week experiment ran its course. I submit that last tidbit as enticement to see \u003cem>The Stanford Prison Experiment\u003c/em>, though I should add a caveat.\u003c/p>\n\u003cp>I’ve emphasized the ramifications of the guards’ behavior from a social and political perspective, yet the movie focuses more on the demoralizing, destructive effect of that behavior on the prisoners. Alvarez explains his slant by noting that it’s more difficult for a film to depict the evolving, unarticulated thought process of a guard than the external breakdown of a prisoner.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So bring all your big-picture reference points, but keep in mind Alvarez’s mantra throughout the development of \u003cem>The Stanford Prison Experiment\u003c/em>: “No matter what, this is a movie about a bunch of young guys trapped in a hallway.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Don’t call it a comeback: The grimy boxing melodrama \u003cem>Southpaw\u003c/em> is so old-fashioned and unsophisticated it’s almost new. Initiated as a remake of 1979’s sap-soaked \u003cem>The Champ\u003c/em> with Eminem in the lead role, it morphed into yet another opportunity for Jake Gyllenhaal to prove he’s a contender. When he finally gets that Oscar he so clearly covets, it’ll likely as not be a make-up award for his spooky turn as a sociopathic TV news cameraman in \u003cem>Nightcrawler\u003c/em> last year.\u003c/p>\n\u003cp>Gyllenhaal isn’t quite that good in \u003cem>Southpaw,\u003c/em> but he’s still pretty great. The orphan-turned-ex-con-turned-light-heavyweight champion Gyllenhaal plays is named Billy Hope — a sign of the degree of subtlety in \u003cem>Sons of Anarchy\u003c/em> creator Kurt Sutter’s screenplay, wherein every plot turn is as telegraphed as a tomato can’s jab. I didn’t care: Enough of it felt earned to me that \u003cem>Southpaw\u003c/em> wins on points. With movies and TV inching ever closer to the meta singularity that will render all earnestness extinct, a film that doubles down on performance and dares to tell a simple story simply feels vaguely punk rock.\u003c/p>\n\u003cp>Or at least punk rock-\u003cem>era.\u003c/em> In ’70s-cinema terms, \u003cem>Southpaw\u003c/em> is a mashup of \u003cem>Rocky\u003c/em> and \u003cem>Kramer vs. Kramer — \u003c/em>though it borrows more from the latter, actually. When Billy’s wife (Rachel McAdams, trading in her \u003cem>True Detective\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ka-Bar\" target=\"_blank\" rel=\"noopener\">Ka-Bar collection\u003c/a> for a slinky dress and big hoop earrings) exits the scene, he falls into a tailspin, losing his boxing license, his manager (Curtis “50 Cent” Jackson), his fancy house, and finally, custody of his 10-year-old daughter Leila. (Oona Laurence avoids the cereal-commercial poise that makes most child actors so grating.) Billy’s need for income, so that he can convince a judge that he’s fit for fatherhood, is what sends him to the gym run by Tick Wills, who trained the only boxer ever to beat him. (Billy still got the decision, but he suspects that was because someone in his camp paid a bribe. “The fight game, you know,” he shrugs.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mh2ebPxhoLs\u003c/p>\n\u003cp>Wills is the movie’s \u003cem>other\u003c/em> bravura performance. Can it be true that the great Forest Whitaker has never played a crusty, philosophically inclined fight trainer before now? With a glass eye that doesn’t match his real one? Who is secretly a big softie who lets the neighborhood kids train for free but fines them 50 pushups for cursing? It seems impossible, and yet IMDB insists ’tis so. Whatever: There’s great pleasure to be had from watching Gyllenhaal and Whitaker play lonely, inarticulate guys trying squint and grunt — and above all, sweat — their way to revelation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie spends a lot of time alone with Billy and Leila, too, as he faithfully visits her, hoping she’ll finally speak to him. Sutter actually \u003cem>does\u003c/em> do some subtle work in these scenes, never expecting us to care about this father-daughter relationship just because. Leila is more mature and rational than Billy, and the movie is smart enough to realize that’s not funny or cute; it’s a serious problem.\u003c/p>\n\u003cp>Indeed, Billy is the most nonverbal character Gyllenhaal has ever embodied, frequently defeated by the labor of stringing sentences together. Rocky Balboa sounds like Ali at his rhyming-trash-talk peak compared to this guy. But it’s expressly because fight films emphasize discipline over eloquence that actors like Gyllenhaal — the ones who seem to crave respect even more than wealth or fame — can’t resist them.\u003c/p>\n\u003cp>Like (in chronological order) Robert De Niro, Daniel Day-Lewis, Will Smith, Mark Wahlberg and Tom Hardy before, Gyllenhaal trained hard for months to look and move like a champion. \u003cem>Southpaw’\u003c/em>s press notes insist he didn’t use a stunt double in the ring, and director Antoine Fuqua — an amateur fighter himself, though he usually makes movies about cops or soldiers — brought in HBO Boxing camera operators Todd Palladino and Rick Cypher to make the choreographed bouts look real. (David O. Russell did this in 2010’s \u003cem>The Fighter,\u003c/em> too.) Naturally, Fuqua takes advantage of the fact that these are staged fights to put his camera where it could never go in a real one. And as in every non-documentary boxing flick, the blows seem to land more cleanly and with more immediate effect than in life. Still, \u003cem>Southpaw’\u003c/em>s fights are still visceral and involving.\u003c/p>\n\u003cp>Once upon a time, physical transformations like Gyllenhaal’s — he half-starved himself for \u003cem>Nightcrawler,\u003c/em> then followed that up by making himself at least a convincing replica of an elite athlete — were rare signifiers of an actor’s commitment. Fairly or not, they feel less significant now that Hollywood has gone full-time into the superhero business, spawning an entire sub-industry devoted to making youngish men from England, Ireland, Scotland, Australia, and on rare occasions the United States of America, look like Jim Lee drawings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The difference is that playing Superman or Wolverine means making yourself look invulnerable, while vulnerability and exhaustion are what boxing movies are all about. \u003cem>Southpaw\u003c/em> sometimes carries that idea to a laughable extreme: Gyllenhaal’s face is an oozing deep-dish pizza of bruises and lacerations in \u003cem>every\u003c/em> scene, even when months are supposed to have passed since his last fight. Still, you can’t blame the guy. You’ve heard the expression that an actor’s face is his tool? Sometimes it’s his trophy, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don’t call it a comeback: The grimy boxing melodrama \u003cem>Southpaw\u003c/em> is so old-fashioned and unsophisticated it’s almost new. Initiated as a remake of 1979’s sap-soaked \u003cem>The Champ\u003c/em> with Eminem in the lead role, it morphed into yet another opportunity for Jake Gyllenhaal to prove he’s a contender. When he finally gets that Oscar he so clearly covets, it’ll likely as not be a make-up award for his spooky turn as a sociopathic TV news cameraman in \u003cem>Nightcrawler\u003c/em> last year.\u003c/p>\n\u003cp>Gyllenhaal isn’t quite that good in \u003cem>Southpaw,\u003c/em> but he’s still pretty great. The orphan-turned-ex-con-turned-light-heavyweight champion Gyllenhaal plays is named Billy Hope — a sign of the degree of subtlety in \u003cem>Sons of Anarchy\u003c/em> creator Kurt Sutter’s screenplay, wherein every plot turn is as telegraphed as a tomato can’s jab. I didn’t care: Enough of it felt earned to me that \u003cem>Southpaw\u003c/em> wins on points. With movies and TV inching ever closer to the meta singularity that will render all earnestness extinct, a film that doubles down on performance and dares to tell a simple story simply feels vaguely punk rock.\u003c/p>\n\u003cp>Or at least punk rock-\u003cem>era.\u003c/em> In ’70s-cinema terms, \u003cem>Southpaw\u003c/em> is a mashup of \u003cem>Rocky\u003c/em> and \u003cem>Kramer vs. Kramer — \u003c/em>though it borrows more from the latter, actually. When Billy’s wife (Rachel McAdams, trading in her \u003cem>True Detective\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ka-Bar\" target=\"_blank\" rel=\"noopener\">Ka-Bar collection\u003c/a> for a slinky dress and big hoop earrings) exits the scene, he falls into a tailspin, losing his boxing license, his manager (Curtis “50 Cent” Jackson), his fancy house, and finally, custody of his 10-year-old daughter Leila. (Oona Laurence avoids the cereal-commercial poise that makes most child actors so grating.) Billy’s need for income, so that he can convince a judge that he’s fit for fatherhood, is what sends him to the gym run by Tick Wills, who trained the only boxer ever to beat him. (Billy still got the decision, but he suspects that was because someone in his camp paid a bribe. “The fight game, you know,” he shrugs.)\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/Mh2ebPxhoLs'\n title='//www.youtube.com/embed/Mh2ebPxhoLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wills is the movie’s \u003cem>other\u003c/em> bravura performance. Can it be true that the great Forest Whitaker has never played a crusty, philosophically inclined fight trainer before now? With a glass eye that doesn’t match his real one? Who is secretly a big softie who lets the neighborhood kids train for free but fines them 50 pushups for cursing? It seems impossible, and yet IMDB insists ’tis so. Whatever: There’s great pleasure to be had from watching Gyllenhaal and Whitaker play lonely, inarticulate guys trying squint and grunt — and above all, sweat — their way to revelation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie spends a lot of time alone with Billy and Leila, too, as he faithfully visits her, hoping she’ll finally speak to him. Sutter actually \u003cem>does\u003c/em> do some subtle work in these scenes, never expecting us to care about this father-daughter relationship just because. Leila is more mature and rational than Billy, and the movie is smart enough to realize that’s not funny or cute; it’s a serious problem.\u003c/p>\n\u003cp>Indeed, Billy is the most nonverbal character Gyllenhaal has ever embodied, frequently defeated by the labor of stringing sentences together. Rocky Balboa sounds like Ali at his rhyming-trash-talk peak compared to this guy. But it’s expressly because fight films emphasize discipline over eloquence that actors like Gyllenhaal — the ones who seem to crave respect even more than wealth or fame — can’t resist them.\u003c/p>\n\u003cp>Like (in chronological order) Robert De Niro, Daniel Day-Lewis, Will Smith, Mark Wahlberg and Tom Hardy before, Gyllenhaal trained hard for months to look and move like a champion. \u003cem>Southpaw’\u003c/em>s press notes insist he didn’t use a stunt double in the ring, and director Antoine Fuqua — an amateur fighter himself, though he usually makes movies about cops or soldiers — brought in HBO Boxing camera operators Todd Palladino and Rick Cypher to make the choreographed bouts look real. (David O. Russell did this in 2010’s \u003cem>The Fighter,\u003c/em> too.) Naturally, Fuqua takes advantage of the fact that these are staged fights to put his camera where it could never go in a real one. And as in every non-documentary boxing flick, the blows seem to land more cleanly and with more immediate effect than in life. Still, \u003cem>Southpaw’\u003c/em>s fights are still visceral and involving.\u003c/p>\n\u003cp>Once upon a time, physical transformations like Gyllenhaal’s — he half-starved himself for \u003cem>Nightcrawler,\u003c/em> then followed that up by making himself at least a convincing replica of an elite athlete — were rare signifiers of an actor’s commitment. Fairly or not, they feel less significant now that Hollywood has gone full-time into the superhero business, spawning an entire sub-industry devoted to making youngish men from England, Ireland, Scotland, Australia, and on rare occasions the United States of America, look like Jim Lee drawings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The difference is that playing Superman or Wolverine means making yourself look invulnerable, while vulnerability and exhaustion are what boxing movies are all about. \u003cem>Southpaw\u003c/em> sometimes carries that idea to a laughable extreme: Gyllenhaal’s face is an oozing deep-dish pizza of bruises and lacerations in \u003cem>every\u003c/em> scene, even when months are supposed to have passed since his last fight. Still, you can’t blame the guy. You’ve heard the expression that an actor’s face is his tool? Sometimes it’s his trophy, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you have a pulse and aren't agoraphobic, you've probably seen \u003cem>Jurassic World\u003c/em>. And you probably noticed that the heroine of the film, played by Bryce Dallas Howard (\u003ca href=\"http://cdn.hellogiggles.com/wp-content/uploads/2015/06/10/08-jessica-chastain-bryce-dall-500x375c.jpg\" target=\"_blank\">not Jessica Chastain\u003c/a>), was forced to wear heels for the entire movie, even while fleeing lethal pterodactyls. Surely an amusement park as large as Jurassic World would have some sensible footwear options in the gift shop (maybe with light up dino eyes or something)? Apparently not. Some argued that the heels were a tongue-in-cheek call-back to monster movies of yore. Others thought it was just sexist.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/channel/UCp90lfsLScR5jPF4GrBmBUw\" target=\"_blank\">XVP Comedy\u003c/a> spun the debate into comedic gold by putting all the male characters from previous \u003cem>Jurassic Park\u003c/em> movies in heels of their own. And they didn't stop there; the dinosaurs and even the mosquito immortalized in amber got the stiletto treatment. How does it feel, fellas? #JusticeforBryceDallasHowardsFeet!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_RZi6NCuLbQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Grab A Hanky: 9 Touching Films for Parents Day",
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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Your Parents Day Facebook post on Dad’s wall may not have made him tear up, but these poignant stories on our YouTube \u003ca target=\"_blank\" href=\"https://www.youtube.com/playlist?list=PLgpmoh4BHEKXArjnBD2GqnVANOxz4Di7z\" rel=\"noopener\">playlist\u003c/a> are bound to do the trick! Share them!\u003c/p>\n\u003ch3>If you miss Mom:\u003c/h3>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=-v4-1wFEzM0?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span>\u003c/p>\n\u003ch3>If \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/24/grab-a-hanky-9-touching-films-for-parents-day/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \n\u003c/h3>\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/24/grab-a-hanky-9-touching-films-for-parents-day/\" target=\"_blank\" title=\"Grab A Hanky: 9 Touching Films for Parents Day\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Your Parents Day Facebook post on Dad's wall may not have made him tear up, but these poignant stories on our YouTube \u003ca target=\"_blank\" href=\"https://www.youtube.com/playlist?list=PLgpmoh4BHEKXArjnBD2GqnVANOxz4Di7z\" rel=\"noopener\">playlist\u003c/a> are bound to do the trick! Share them!\u003c/p>\n\u003ch3>If you miss Mom:\u003c/h3>\n\u003cspan>[youtube http://www.youtube.com/watch?v=-v4-1wFEzM0?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span>\n\u003cp> \u003c/p>\n\u003ch3>If \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/24/grab-a-hanky-9-touching-films-for-parents-day/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"title": "In the Animated ‘Steadfast Stanley,’ Dogs Make Us Whole",
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"content": "\u003ch3>Don’t forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Go behind the scenes with animator John Cody Kim, as he discusses the key themes of his corgi/zombie animated film \u003cem>Steadfast Stanley\u003c/em>.\u003c/p>\n\u003cp>\u003cspan>[youtube http://www.youtube.com/watch?v=VX1Vtaw0RrI?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/24/in-the-animated-steadfast-stanley-dogs-make-us-whole/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/24/in-the-animated-steadfast-stanley-dogs-make-us-whole/\" target=\"_blank\" title=\"In the Animated ‘Steadfast Stanley,’ Dogs Make Us Whole\" rel=\"noopener\">Films School Shorts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003ch3>Don't forget to subscribe to our \u003ca target=\"_blank\" href=\"http://www.bit.ly/FSSYouTube\" rel=\"noopener\">YouTube channel\u003c/a>!\u003c/h3>\n\u003cp>Go behind the scenes with animator John Cody Kim, as he discusses the key themes of his corgi/zombie animated film \u003cem>Steadfast Stanley\u003c/em>.\u003c/p>\n\u003cspan>[youtube http://www.youtube.com/watch?v=VX1Vtaw0RrI?version=3&rel=1&fs=1&showsearch=0&showinfo=1&iv_load_policy=1&wmode=transparent&w=580&h=357]\u003c/span> \u003ca href=\"http://blogs.kqed.org/filmschoolshorts/2015/07/24/in-the-animated-steadfast-stanley-dogs-make-us-whole/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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