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"content": "\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XWgIOb_U2Hc\u003c/p>\n\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iY68ovrzfXc\u003c/p>\n\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=My1cjR0rjlI\u003c/p>\n\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, Nichols couldn’t stay away, his passion for the work still driving him after more than five decades at the top of the industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Mike+Nichols%2C+Award-Winning+Director+Of+%27The+Graduate%2C%27+%27Silkwood%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Nichols has a long string of classic films and plays to his credit as a director and producer, including \u003cem>The Odd Couple\u003c/em> on Broadway, \u003cem>The Graduate\u003c/em> on film and\u003cem> Angels in America\u003c/em> on TV.\u003c/p>\n\u003cfigure id=\"attachment_10148472\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg\" alt=\"Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\" width=\"640\" height=\"562\" class=\"size-large wp-image-10148472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-1180x1037.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-400x351.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe-682x600.jpg 682w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap97110101919_enl-568fe3403968c7276e669d562359f872373425fe.jpg 1950w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols and television journalist Diane Sawyer, shown above in November 1997, were married for 26 years.\u003c/figcaption>\u003c/figure>\n\u003cp>He died Wednesday night of a heart attack at age 83, acknowledged as one of the most successful artists in show business. He had earned just about every major award in entertainment, and had an enduring, 26-year marriage to ABC News anchor Diane Sawyer and a family with three children and four grandchildren.\u003c/p>\n\u003cp>But Nichols once said his life as the ultimate showbiz insider came from lessons learned while growing up as an outsider — emigrating from Germany to New York City at age 7 knowing little English and having few friends.\u003c/p>\n\u003cp>One of Nichols’ greatest talents was pulling unforgettable, landmark performances from Hollywood’s acting elite.\u003c/p>\n\u003cp>In 1966, he delivered Elizabeth Taylor as a sharp-tongued wife tearing into Richard Burton in \u003cem>Who’s Afraid of Virginia Woolf? \u003c/em>“You see, George didn’t have much push, he wasn’t particularly aggressive,” Taylor says in the film, playing the hard-drinking wife of a college professor whom she loved to torment with harsh criticism. “In fact, he was sort of a flop — a great, big, fat flop!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XWgIOb_U2Hc'\n title='//www.youtube.com/embed/XWgIOb_U2Hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1986, he showcased Meryl Streep slowly unraveling as she talked about her philandering husband, played by Jack Nicholson, in \u003cem>Heartburn\u003c/em>.\u003c/p>\n\u003cp>Her character, a food writer, sits at a dinner party with her husband and friends when talk about relationships leads her to get real about her own marriage: “You sort of notice that things are not the way they were, but it’s a … a distant bell, and then when things do turn out to have been wrong, it’s not that you knew all along, it was just that you were … uh, uh … somewhere else.” The scene ends with Streep hitting Nicholson in the face with a pie intended for dessert.\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/iY68ovrzfXc'\n title='//www.youtube.com/embed/iY68ovrzfXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But little compared to Nichols’ most famous scene, featuring Dustin Hoffman in his breakout role, playing a bewildered 20-something about to begin an unwise affair with an older, married woman in 1967’s \u003cem>The Graduate\u003c/em>.\u003c/p>\n\u003cp>“Mrs. Robinson, you’re trying to seduce me,” Hoffman’s Benjamin Braddock tells Anne Bancroft’s Mrs. Robinson, the wife of his father’s law partner, who is stretched out in a seductive pose that became an iconic symbol for a generation.\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/My1cjR0rjlI'\n title='//www.youtube.com/embed/My1cjR0rjlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols was a master at pushing talents like Hoffman and Streep to unexpected places. Their confused characters often highlighted thorny issues in modern life. In \u003cem>The Graduate\u003c/em>, Hoffman became a symbol of baby boomers’ uncertainty in a changing world, suffering through useless advice from clueless elders.\u003c/p>\n\u003cp>But Nichols shrugged off credit for leading actors to great performances in \u003ca href=\"http://www.movingimagesource.us/files/dialogues/2/18025_programs_transcript_pdf_203.pdf\" target=\"_blank\" rel=\"noopener\">a 1990 interview\u003c/a> for the Museum of the Moving Image.\u003c/p>\n\u003cp>“You can’t direct actors very much in a movie, because if you tell them what to do, they’ll be doing what you told them,” he said. “What’s interesting in a movie is something happening that nobody planned.”\u003c/p>\n\u003cp>Nichols understood American culture as only someone born outside the U.S. really could.\u003c/p>\n\u003cp>He was born Michael Igor Peschkowsky in Germany, the son of a Russian Jew who fled the Nazis in 1939. His physician father died a few years later, leaving a wife and two sons to struggle in New York City.\u003c/p>\n\u003cp>In 2012, Nichols told NPR his early isolation brought a lifelong advantage.\u003c/p>\n\u003cp>“The thing about being an outsider, no matter what, is that there’s a good part, which is that it teaches you to hear what people are thinking,” he said.\u003c/p>\n\u003cp>“Because I learned to hear what people are thinking, quite literally, I think it stood me in good stead,” Nichols added. “It’s probably why I’m in the theater, because I can hear an audience. … I could hear an audience thinking when I was in front of them.”\u003c/p>\n\u003cp>That skill at “reading” audiences was crucial when Nichols turned from medical studies to theater in college. By the late 1950s, he had teamed with actress/writer Elaine May to create the improvisational comedy duo Nichols and May. They were all over the TV shows of the day, including \u003cem>The Jack Paar Show\u003c/em>.\u003c/p>\n\u003cp>But performing lost its luster for Nichols, so in 1963, he agreed to direct a play by a TV joke writer. Neil Simon’s \u003cem>Barefoot in the Park\u003c/em> became a blockbuster success.\u003c/p>\n\u003cfigure id=\"attachment_10148473\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg\" alt=\"Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\" width=\"640\" height=\"506\" class=\"size-large wp-image-10148473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-1180x933.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ap680320066_enl-803acf97eeb07ed1ceb816ea8978e46025331fb6-758x600.jpg 758w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nichols (left) and playwright Neil Simon pose together after a show rehearsal in March 1968 in New York City.\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, as Nichols told NPR, he realized directing was the job he was really meant to do: “To my surprise, where I never quite got how I was gonna be an actor — ’cause I don’t think I’m suited to be an actor — I immediately realized that all this time I thought I was thinking about acting, I was really thinking about directing.”\u003c/p>\n\u003cp>You could spend a long afternoon listing all the classic stage, film and TV projects Nichols touched as a director or producer. \u003cem>The Odd Couple, Plaza Suite, Hurlyburly\u003c/em> and \u003cem>Spamalot\u003c/em> on Broadway; movies like \u003cem>Carnal Knowledge, Silkwood, Working Girl\u003c/em> and \u003cem>Primary Colors\u003c/em>; along with versions of \u003cem>Wit\u003c/em> and \u003cem>Angels in America\u003c/em> for HBO on TV.\u003c/p>\n\u003cp>At times, Nichols could seem like a showbiz version of Zelig. He co-produced Broadway’s original, 1977 version of the hit musical \u003cem>Annie\u003c/em> and gave Whoopi Goldberg a career in the mid ’80s when he brought her one-woman show to Broadway.\u003c/p>\n\u003cp>So it makes sense that Nichols would be one of only 12 artists to become what industry types call an EGOT — someone who has won Emmy, Grammy, Oscar and Tony awards.\u003c/p>\n\u003cp>But when Nichols talked with NPR about why he loved directing, grand honors weren’t a big part of the equation.\u003c/p>\n\u003cp>“It’s a wonderful job,” he said. “It’s exploring and excavating and analyzing all at once. And plays, especially great plays, yield their secrets over a long period of time, and that’s the great excitement.”\u003c/p>\n\u003cp>Despite passion for his work and loads of success, Nichols said, it took his fourth wife, ABC News anchor Diane Sawyer, to rescue him from depression in his mid-50s. By 2012, he was predicting his production of \u003cem>Death of a Salesman\u003c/em>, which won him his sixth Tony award, might be his last play.\u003c/p>\n\u003cp>But a year later, he was back on Broadway, leading a revival of Harold Pinter’s \u003cem>Betrayal\u003c/em>; he had worked on adapting a version of the Tony-winning play \u003cem>Master Class\u003c/em> for HBO with Meryl Streep before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Nichols couldn’t stay away, his passion for the work still driving him after more than five decades at the top of the industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Mike+Nichols%2C+Award-Winning+Director+Of+%27The+Graduate%2C%27+%27Silkwood%2C%27+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "New Documentary Chronicles Glen Campbell’s Farewell | KQED",
"content": "\u003cp>As I write this, musician Glen Campbell is at a nursing care facility in Tennessee, where medical staff are ensuring that his last days on Earth are as good as they can be. Campbell has Alzheimer’s disease, which is attacking his brain and – stage by stage – robbing him of his capacity to function. In 2011, after announcing that he had Alzheimer’s, Campbell went on a farewell music tour and – volleying among fits of confusion, anger and normalcy – performed the hits that, for 50 years, have burnished his reputation as one of America’s most acclaimed singers. Campbell is 78.\u003c/p>\n\u003cp>A new documentary about that cross-country tour, \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>, opens in the Bay Area on Friday, November 14. It’s an inside look at those concerts and all the behind-the-scenes doings, and an intimate look at Campbell’s struggle with the most rudimentary actions. What’s the name of his longtime wife? Campbell can’t remember, even as his wife, Kimberly Woolen, is inches away. Campbell sees footage of himself as a younger man and can’t recognize himself. “Oh,” he says when Woolen tells him.\u003c/p>\n\u003cp>“Oh.” That’s what Glen Campbell – the All-American man with the timeless cadence rooted in Arkansas – has become: a confused two-letter utterance. It’s painful to watch the stars of your childhood descend into physical hell. The stars of previous generations never allowed themselves to be filmed at their most fragile. In 1939, when \u003ca href=\"http://en.wikipedia.org/wiki/Lou_Gehrig\" target=\"_blank\" rel=\"noopener\">Lou Gehrig\u003c/a> announced that he was quitting baseball because of \u003ca href=\"http://en.wikipedia.org/wiki/Amyotrophic_lateral_sclerosis\" target=\"_blank\" rel=\"noopener\">Amyotrophic Lateral Sclerosis\u003c/a>, he walked away from the spotlight. Gehrig didn’t let cameras shadow him as he deteriorated toward death over the next two years.\u003c/p>\n\u003cp>http://youtu.be/CC374jwyrkM\u003c/p>\n\u003cp>But there’s a tremendous upside to seeing Campbell in \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>. The documentary humanizes the star, and personalizes the last stages of a disease for which there is no cure. Alzheimer’s is a death sentence. In a pop culture that lionizes youth and good looks and worships veteran stars who somehow (plastic surgery, great genes, etc.) hold on to those looks, Campbell is an anomaly. One of a growing number, actually. Just this year, film critic \u003ca href=\"http://en.wikipedia.org/wiki/Roger_Ebert\" target=\"_blank\" rel=\"noopener\">Roger Ebert\u003c/a> was the subject of the documentary \u003ca href=\"http://en.wikipedia.org/wiki/Life_Itself_%28film%29\" target=\"_blank\" rel=\"noopener\">\u003cem>Life Itself\u003c/em>\u003c/a>, which detailed – in excruciatingly candid footage – his battle with cancer of the thyroid and salivary glands. At the end of his life, Ebert’s lower jaw was grossly distorted as doctors raced to save his life. They didn’t succeed, but Ebert maintained his dignity till the last days of his life. We get to see that in \u003cem>Life Itself\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10145314\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC1_lg-e1415658739450.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC1_lg-e1415658739450.jpg\" alt=\"Ashley Campbell and Glen Campbell performing together on “The Goodbye Tour,”\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145314\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ashley Campbell and Glen Campbell performing together on “The Goodbye Tour,” \u003ccite>(Photo Courtesy of PCH Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>, the dignity is there when Campbell thanks the filmmakers for following him through the good moments and bad, and when his family supports him onstage and off, even as they experience his temper tantrums. During the filming, Campbell seems capable of violence – against his family and himself. By the time we see the last concert, in Napa, Campbell’s wife and manager decide to shut down the tour because the singer is almost incapable of performing a whole concert. The applause from the concerts sustained the musician. Teleprompters fed him all the lines he had to sing, and told him when to play solo parts. His ability to sing was so ingrained in his brain that – despite losing lucidness – he could still get on stage and act like the old Glen Campbell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/4qoymGCDYzU\u003c/p>\n\u003cp>It was that Glen Campbell that, in the late 1960s, appeared on the TV in my childhood home in San Francisco. My mother, who was raised in Baltimore, loved his smooth, folksy voice and soulful songs about love and heartbreak – like his 1967 tune \u003ca href=\"http://en.wikipedia.org/wiki/By_the_Time_I_Get_to_Phoenix\" target=\"_blank\" rel=\"noopener\">“By the Time I Get to Phoenix”\u003c/a>, and his 1968 hit \u003ca href=\"http://en.wikipedia.org/wiki/Wichita_Lineman\" target=\"_blank\" rel=\"noopener\">“Wichita Lineman”\u003c/a>. \u003ca href=\"http://en.wikipedia.org/wiki/Jimmy_Webb\" target=\"_blank\" rel=\"noopener\">Jimmy Webb\u003c/a> wrote both those songs, and he lionizes Campbell in the documentary. As a boy growing up in the late ‘60s and early ‘70s, it was rock, soul, funk, and disco that showered me from my peers’ culture. My mother’s culture brought me Glen Campbell, Harry Belafonte, Dinah Shore, and Lawrence Welk. I didn’t really appreciate their songs then. And I don’t actively listen to them now – except for Campbell’s. His songs hold up, and the searing love and heartbreak that he channels in them are now my love and heartbreak, too. You feel it in your head and in your gut. Which is why a group like R.E.M. performed Campbell’s hits in concert for new generations of music lovers. And why Bruce Springsteen will say – as he does in \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em> – that he always admired Campbell: “Beautiful singing voice. Pure tone. And the simple presentation. He’s never fancy . . . wasn’t singing all over the place. Simple on the surface. But there was a world of emotion underneath.”\u003c/p>\n\u003cfigure id=\"attachment_10145316\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC27_lg-e1415659133216.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC27_lg-e1415659133216.jpg\" alt=\"Glen Campbell performing on “The Goodbye Tour.”\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145316\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Glen Campbell performing on “The Goodbye Tour.” \u003ccite>(Photo Courtesy of PCH Films.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It takes getting older to appreciate Glen Campbell, and I’ve entered yet a new realm of appreciation for him after seeing the documentary. Glen Campbell and his family took a big risk in agreeing to being filmed. Instead of singing about pain and suffering, Campbell is living it. The film touches on his longtime drinking problems. We don’t see the booking photo from his 2003 drunk-driving arrest, where he stares menacingly into the camera, but that Campbell is also present in \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>. He isn’t pretending in the film. What we see is what we get.\u003c/p>\n\u003cp>“Who was the first president of the United States?” a doctor asks Campbell. “My goodness,” Campbell says, “I don’t know.” “I’d like you to remember four words,” the doctor says. “Apple, Mister Johnson, dharity, and tunnel. Can you give them back to me now?” Campbell: “No, I have no use for them now.”\u003c/p>\n\u003cp>Campbell was always good at interpreting other songwriters’ words. On his own, he had less success. And now, most of those words aren’t there either. Campbell can still say, “I love you.” He can still laugh and still be physical with others. His spirit is still in his body. But he needs round-the-clock attention. That’s why he’s in a nursing care facility in Tennessee. And why Campbell’s fans everywhere – including the Bay Area – will see \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>, and walk away knowing it’s the last good look they’ll have of him before his death in the months or years ahead.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Glen Campbell . . . I’ll Be Me\u003c/em> opens in the Bay Area on Friday, November 14, 2014. For \u003ca href=\"http://glencampbellmovie.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to glencampbellmovie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I write this, musician Glen Campbell is at a nursing care facility in Tennessee, where medical staff are ensuring that his last days on Earth are as good as they can be. Campbell has Alzheimer’s disease, which is attacking his brain and – stage by stage – robbing him of his capacity to function. In 2011, after announcing that he had Alzheimer’s, Campbell went on a farewell music tour and – volleying among fits of confusion, anger and normalcy – performed the hits that, for 50 years, have burnished his reputation as one of America’s most acclaimed singers. Campbell is 78.\u003c/p>\n\u003cp>A new documentary about that cross-country tour, \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>, opens in the Bay Area on Friday, November 14. It’s an inside look at those concerts and all the behind-the-scenes doings, and an intimate look at Campbell’s struggle with the most rudimentary actions. What’s the name of his longtime wife? Campbell can’t remember, even as his wife, Kimberly Woolen, is inches away. Campbell sees footage of himself as a younger man and can’t recognize himself. “Oh,” he says when Woolen tells him.\u003c/p>\n\u003cp>“Oh.” That’s what Glen Campbell – the All-American man with the timeless cadence rooted in Arkansas – has become: a confused two-letter utterance. It’s painful to watch the stars of your childhood descend into physical hell. The stars of previous generations never allowed themselves to be filmed at their most fragile. In 1939, when \u003ca href=\"http://en.wikipedia.org/wiki/Lou_Gehrig\" target=\"_blank\" rel=\"noopener\">Lou Gehrig\u003c/a> announced that he was quitting baseball because of \u003ca href=\"http://en.wikipedia.org/wiki/Amyotrophic_lateral_sclerosis\" target=\"_blank\" rel=\"noopener\">Amyotrophic Lateral Sclerosis\u003c/a>, he walked away from the spotlight. Gehrig didn’t let cameras shadow him as he deteriorated toward death over the next two years.\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/CC374jwyrkM'\n title='//www.youtube.com/embed/CC374jwyrkM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But there’s a tremendous upside to seeing Campbell in \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>. The documentary humanizes the star, and personalizes the last stages of a disease for which there is no cure. Alzheimer’s is a death sentence. In a pop culture that lionizes youth and good looks and worships veteran stars who somehow (plastic surgery, great genes, etc.) hold on to those looks, Campbell is an anomaly. One of a growing number, actually. Just this year, film critic \u003ca href=\"http://en.wikipedia.org/wiki/Roger_Ebert\" target=\"_blank\" rel=\"noopener\">Roger Ebert\u003c/a> was the subject of the documentary \u003ca href=\"http://en.wikipedia.org/wiki/Life_Itself_%28film%29\" target=\"_blank\" rel=\"noopener\">\u003cem>Life Itself\u003c/em>\u003c/a>, which detailed – in excruciatingly candid footage – his battle with cancer of the thyroid and salivary glands. At the end of his life, Ebert’s lower jaw was grossly distorted as doctors raced to save his life. They didn’t succeed, but Ebert maintained his dignity till the last days of his life. We get to see that in \u003cem>Life Itself\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_10145314\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC1_lg-e1415658739450.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC1_lg-e1415658739450.jpg\" alt=\"Ashley Campbell and Glen Campbell performing together on “The Goodbye Tour,”\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145314\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ashley Campbell and Glen Campbell performing together on “The Goodbye Tour,” \u003ccite>(Photo Courtesy of PCH Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>, the dignity is there when Campbell thanks the filmmakers for following him through the good moments and bad, and when his family supports him onstage and off, even as they experience his temper tantrums. During the filming, Campbell seems capable of violence – against his family and himself. By the time we see the last concert, in Napa, Campbell’s wife and manager decide to shut down the tour because the singer is almost incapable of performing a whole concert. The applause from the concerts sustained the musician. Teleprompters fed him all the lines he had to sing, and told him when to play solo parts. His ability to sing was so ingrained in his brain that – despite losing lucidness – he could still get on stage and act like the old Glen Campbell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4qoymGCDYzU'\n title='//www.youtube.com/embed/4qoymGCDYzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was that Glen Campbell that, in the late 1960s, appeared on the TV in my childhood home in San Francisco. My mother, who was raised in Baltimore, loved his smooth, folksy voice and soulful songs about love and heartbreak – like his 1967 tune \u003ca href=\"http://en.wikipedia.org/wiki/By_the_Time_I_Get_to_Phoenix\" target=\"_blank\" rel=\"noopener\">“By the Time I Get to Phoenix”\u003c/a>, and his 1968 hit \u003ca href=\"http://en.wikipedia.org/wiki/Wichita_Lineman\" target=\"_blank\" rel=\"noopener\">“Wichita Lineman”\u003c/a>. \u003ca href=\"http://en.wikipedia.org/wiki/Jimmy_Webb\" target=\"_blank\" rel=\"noopener\">Jimmy Webb\u003c/a> wrote both those songs, and he lionizes Campbell in the documentary. As a boy growing up in the late ‘60s and early ‘70s, it was rock, soul, funk, and disco that showered me from my peers’ culture. My mother’s culture brought me Glen Campbell, Harry Belafonte, Dinah Shore, and Lawrence Welk. I didn’t really appreciate their songs then. And I don’t actively listen to them now – except for Campbell’s. His songs hold up, and the searing love and heartbreak that he channels in them are now my love and heartbreak, too. You feel it in your head and in your gut. Which is why a group like R.E.M. performed Campbell’s hits in concert for new generations of music lovers. And why Bruce Springsteen will say – as he does in \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em> – that he always admired Campbell: “Beautiful singing voice. Pure tone. And the simple presentation. He’s never fancy . . . wasn’t singing all over the place. Simple on the surface. But there was a world of emotion underneath.”\u003c/p>\n\u003cfigure id=\"attachment_10145316\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC27_lg-e1415659133216.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/GC27_lg-e1415659133216.jpg\" alt=\"Glen Campbell performing on “The Goodbye Tour.”\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145316\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Glen Campbell performing on “The Goodbye Tour.” \u003ccite>(Photo Courtesy of PCH Films.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It takes getting older to appreciate Glen Campbell, and I’ve entered yet a new realm of appreciation for him after seeing the documentary. Glen Campbell and his family took a big risk in agreeing to being filmed. Instead of singing about pain and suffering, Campbell is living it. The film touches on his longtime drinking problems. We don’t see the booking photo from his 2003 drunk-driving arrest, where he stares menacingly into the camera, but that Campbell is also present in \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>. He isn’t pretending in the film. What we see is what we get.\u003c/p>\n\u003cp>“Who was the first president of the United States?” a doctor asks Campbell. “My goodness,” Campbell says, “I don’t know.” “I’d like you to remember four words,” the doctor says. “Apple, Mister Johnson, dharity, and tunnel. Can you give them back to me now?” Campbell: “No, I have no use for them now.”\u003c/p>\n\u003cp>Campbell was always good at interpreting other songwriters’ words. On his own, he had less success. And now, most of those words aren’t there either. Campbell can still say, “I love you.” He can still laugh and still be physical with others. His spirit is still in his body. But he needs round-the-clock attention. That’s why he’s in a nursing care facility in Tennessee. And why Campbell’s fans everywhere – including the Bay Area – will see \u003cem>Glen Campbell . . . I’ll Be Me\u003c/em>, and walk away knowing it’s the last good look they’ll have of him before his death in the months or years ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'The Theory Of Everything,' Science Takes A Back Seat",
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"content": "\u003cp>British science is having a cinematic moment, with \u003cem>The Theory of Everything\u003c/em> now and \u003cem>The Imitation Game\u003c/em> soon. Yet neither film has much science in it. These accounts of Stephen Hawking and Alan Turing, respectively, are engaging and well-crafted but modeled all too faithfully on old-school romantic dramas.\u003c/p>\n\u003cp>In the movie universe, scientific breakthroughs — even when they help defeat the Nazis, as Turing’s did — must be less important than love. Which, come to think of it, is also the corn-belt communique beamed back from \u003cem>Interstellar\u003c/em>, a film that relies on the cosmological savvy of Kip Thorne, one of Hawking’s closest colleagues.\u003c/p>\n\u003cp>Thorne appears briefly in \u003cem>The Theory of Everything\u003c/em>, which introduces several of Hawking’s scientific peers but focuses on a single companion: the one who wrote the book from which co-producer Anthony McCarten’s script is derived.\u003c/p>\n\u003cp>http://youtu.be/74Cl_KOO-sE\u003c/p>\n\u003cp>She’s Jane Hawking, nee Wilde, as embodied by the ideally named Felicity Jones. Pretty and vivacious, yet not so delicate as she appears, Jane is irresistible to the young Stephen (Eddie Redmayne) when he spots her at a party. This is one of many incidents depicted in the film that didn’t exactly happen. Every time an everyday event can be transformed into a movie moment, McCarten and director James Marsh (\u003cem>Man on Wire\u003c/em>) go for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In broad outline, the story they tell is true. Hawking, a brilliant Ph.D. candidate at Cambridge, is distracted and disorganized, but becomes studiously focused on Jane. He’s diagnosed with a motor neuron disease related to ALS soon after they meet, but she marries him anyway. Soon she has three young children and a husband whose body is withering.\u003c/p>\n\u003cp>The couple struggles medically and financially, but he retains his intellect and wit and she her radiance and good humor. She even learns enough of his work to illustrate the conflict between quantum mechanics and the general theory of relativity — using peas and potatoes — to Jonathan (Charlie Cox), a choirmaster who becomes an intimate family friend.\u003c/p>\n\u003cp>Stephen wins fame as the author of \u003cem>A Brief History of Time\u003c/em>, although the equation that will unify all astrophysics remains elusive. (Marsh embodies the universe in a swirling cup, quoting not Einstein but Godard’s \u003cem>Two or Three Things I Know About Her\u003c/em>.) Then pneumonia — whose operatic onset is another fictionalized episode — leads to a tracheotomy, and further loss of ability to communicate.\u003c/p>\n\u003cp>Ultimately, Jane becomes very close to Jonathan, while Stephen does the same with a therapist (Maxine Peake). And so a 25-year marriage ends, a rupture that may have been a little stormier in actuality than in this sanitized telling. Although it probably is hard to get into a shouting match with a husband who speaks through a voice synthesizer.\u003c/p>\n\u003cp>Devolving from a man who seems a bit clumsy to one who can barely move at all, Redmayne gives an impressive physical performance. It recalls Daniel Day Lewis’ in \u003cem>My Left Foot\u003c/em> — minus the rage. There’s little acrimony in \u003cem>The Theory of Everything\u003c/em>, which may reflect Hawking’s actual outlook or just the movie’s puppyish desire to please.\u003c/p>\n\u003cp> As gentle and saintly as Jennifer Connelly’s character in \u003cem>A Beautiful Mind\u003c/em>, Jones’ Jane is immensely appealing if a bit unbelievable. And since in movies the essence of female virtue is cuteness, Jane barely ages over three decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps she took a rejuvenating whirl through the wayback machine that, in one of the clunkier touches, rewinds the story at the movie’s end. Certainly it feels as if the script did, yielding the time anomaly of a 2014 film that seems to have been written when its 72-year-old protagonist was still in short pants. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+%27The+Theory+Of+Everything%2C%27+Science+Takes+A+Back+Seat&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British science is having a cinematic moment, with \u003cem>The Theory of Everything\u003c/em> now and \u003cem>The Imitation Game\u003c/em> soon. Yet neither film has much science in it. These accounts of Stephen Hawking and Alan Turing, respectively, are engaging and well-crafted but modeled all too faithfully on old-school romantic dramas.\u003c/p>\n\u003cp>In the movie universe, scientific breakthroughs — even when they help defeat the Nazis, as Turing’s did — must be less important than love. Which, come to think of it, is also the corn-belt communique beamed back from \u003cem>Interstellar\u003c/em>, a film that relies on the cosmological savvy of Kip Thorne, one of Hawking’s closest colleagues.\u003c/p>\n\u003cp>Thorne appears briefly in \u003cem>The Theory of Everything\u003c/em>, which introduces several of Hawking’s scientific peers but focuses on a single companion: the one who wrote the book from which co-producer Anthony McCarten’s script is derived.\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/74Cl_KOO-sE'\n title='//www.youtube.com/embed/74Cl_KOO-sE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She’s Jane Hawking, nee Wilde, as embodied by the ideally named Felicity Jones. Pretty and vivacious, yet not so delicate as she appears, Jane is irresistible to the young Stephen (Eddie Redmayne) when he spots her at a party. This is one of many incidents depicted in the film that didn’t exactly happen. Every time an everyday event can be transformed into a movie moment, McCarten and director James Marsh (\u003cem>Man on Wire\u003c/em>) go for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In broad outline, the story they tell is true. Hawking, a brilliant Ph.D. candidate at Cambridge, is distracted and disorganized, but becomes studiously focused on Jane. He’s diagnosed with a motor neuron disease related to ALS soon after they meet, but she marries him anyway. Soon she has three young children and a husband whose body is withering.\u003c/p>\n\u003cp>The couple struggles medically and financially, but he retains his intellect and wit and she her radiance and good humor. She even learns enough of his work to illustrate the conflict between quantum mechanics and the general theory of relativity — using peas and potatoes — to Jonathan (Charlie Cox), a choirmaster who becomes an intimate family friend.\u003c/p>\n\u003cp>Stephen wins fame as the author of \u003cem>A Brief History of Time\u003c/em>, although the equation that will unify all astrophysics remains elusive. (Marsh embodies the universe in a swirling cup, quoting not Einstein but Godard’s \u003cem>Two or Three Things I Know About Her\u003c/em>.) Then pneumonia — whose operatic onset is another fictionalized episode — leads to a tracheotomy, and further loss of ability to communicate.\u003c/p>\n\u003cp>Ultimately, Jane becomes very close to Jonathan, while Stephen does the same with a therapist (Maxine Peake). And so a 25-year marriage ends, a rupture that may have been a little stormier in actuality than in this sanitized telling. Although it probably is hard to get into a shouting match with a husband who speaks through a voice synthesizer.\u003c/p>\n\u003cp>Devolving from a man who seems a bit clumsy to one who can barely move at all, Redmayne gives an impressive physical performance. It recalls Daniel Day Lewis’ in \u003cem>My Left Foot\u003c/em> — minus the rage. There’s little acrimony in \u003cem>The Theory of Everything\u003c/em>, which may reflect Hawking’s actual outlook or just the movie’s puppyish desire to please.\u003c/p>\n\u003cp> As gentle and saintly as Jennifer Connelly’s character in \u003cem>A Beautiful Mind\u003c/em>, Jones’ Jane is immensely appealing if a bit unbelievable. And since in movies the essence of female virtue is cuteness, Jane barely ages over three decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps she took a rejuvenating whirl through the wayback machine that, in one of the clunkier touches, rewinds the story at the movie’s end. Certainly it feels as if the script did, yielding the time anomaly of a 2014 film that seems to have been written when its 72-year-old protagonist was still in short pants. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+%27The+Theory+Of+Everything%2C%27+Science+Takes+A+Back+Seat&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jon Stewart's 'Rosewater' Reach Exceeds His Grasp",
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"content": "\u003cp>There’s undoubtedly a farcical element to the true story told in \u003cem>Rosewater\u003c/em> that makes it seem like the ideal directorial debut for Jon Stewart.\u003c/p>\n\u003cp>The film is about \u003ca href=\"http://www.npr.org/2011/06/30/137521783/journalist-on-surviving-in-iran-don-t-name-names\" target=\"_blank\" rel=\"noopener\">Maziar Bahari\u003c/a> (Gael Garcia Bernal), who was jailed in 2009 in Tehran while covering the Iranian elections that would eventually spark widespread protests in the country. Bahari, an Iranian-Canadian based in London, was arrested after filming protests. But Stewart’s best-known connection to the story (which he adapted for the screen from Bahari’s memoir) is that a satirical interview that Bahari filmed with the \u003cem>Daily Show\u003c/em>‘s Jason Jones, which is re-created in the film, was used as evidence of his collusion with American “spies.”\u003c/p>\n\u003cp>http://youtu.be/k2D7TyCKOC0\u003c/p>\n\u003cp>It’s hard not to laugh at that confusion, but considering that Bahari was held in solitary confinement for 118 days, that he was tortured physically and psychologically, and that he was ultimately coerced into recording a confession admitting that he had betrayed Iran, the joke is a very dark one. In \u003cem>Rosewater,\u003c/em>\u003cem> \u003c/em>Stewart shows no signs that he can handle such tonally complex material.\u003c/p>\n\u003cp>There are moments in \u003cem>Rosewater\u003c/em> where Stewart’s trademark wit shines through, but he largely avoids satire here, opting instead for lighthearted sincerity. The film begins with Bahari’s arrest before flashing back to show his arrival in Tehran and the buildup of tension before the election, in which the hard-line incumbent, President Mahmoud Ahmadinejad, faced serious competition from opposition candidates. Stewart shows us Bahari interviewing both the young anti-government activists who set up illegal satellite dishes to receive foreign news and the representatives for Ahmadinejad who refuse to admit any problem or accept any criticism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mood is largely optimistic in these opening scenes even as it’s clear that a dark turn is coming in the story. At one point, during a montage of demonstrations in Tehran, a web of hashtags like #democracy and #protest floats by on screen. The sense here is of a government that’s out of touch, and an opposition that’s the obvious future of the country.\u003c/p>\n\u003cp>It’s all pretty tepid until the movie turns to Bahari’s incarceration, at which point Stewart’s choices become more disconcerting. The issue is not necessarily one of treating Bahari’s story tastefully; in fact, Stewart may have been too tasteful here. He packs jokes into a horrific situation, but never any that come close to ruffling feathers. Instead, they’re predictable knocks against the kinds of insular interrogators and government officials that wouldn’t be able to recognize the \u003cem>Daily Show’\u003c/em>s satire.\u003c/p>\n\u003cp>It’s also not necessarily a problem of Stewart’s choosing the wrong tone entirely. Rather, he vacillates between too many of them. When Stewart features news footage of a debate between Ahmadinejad and one of his main challengers, opposition leader Mir Hossein Mousavi, or real video of the violence against those protesting the contested election results, the most serious concerns surrounding Bahari’s arrest come into view. But in other moments, Stewart takes a more dismissive approach, treating Bahari’s interrogator, for example, as an unappreciated buffoon looking for recognition from his superiors. In those moments, Stewart seems to want to turn these men into trifling figures, refusing to give them even the benefit of serious treatment. There are times, too, when the film takes a more broadly inspirational tone, addressing itself to Bahari’s resolute spirit — itself an allegory, it would seem, for Iran’s quelled opposition.\u003c/p>\n\u003cp>One can imagine a film that combined these various approaches into a cohesive story, but in \u003cem>Rosewater\u003c/em> they’re blindly tossed together, and the result neither portrays the suffering of Bahari’s incarceration adequately nor lampoons the absurdities of the situation.\u003c/p>\n\u003cp>Even if nothing in \u003cem>Rosewater \u003c/em>makes you question Stewart’s good intentions in making the film, it’s hard to shake the the feeling that by taking a summer off from the \u003cem>Daily Show\u003c/em> to film the movie in Jordan, Stewart performed the equivalent of parachute journalism and cobbled together what plays as a watered-down version of Bahari’s story.\u003c/p>\n\u003cp>There’s little chance you’ll emerge from \u003cem>Rosewater\u003c/em> knowing much more about Iranian politics than when you started. The film admirably protests censorship and political repression, but it doesn’t push very hard to reveal new truths. It only superficially gets into what drove the protests Bahari was covering. And while it eventually acknowledges that the story of a foreign journalist with governments and international activists calling for his release says little about life for Iranians under the current regime, the admission comes late in the film and simply leaves it to other movies to dig deeper into the story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, of course, many have, including recent films like \u003ca href=\"http://www.npr.org/2014/06/12/321324973/in-manuscripts-a-barred-filmmaker-considers-dissident-art\" target=\"_blank\" rel=\"noopener\">Manuscripts Don’t Burn\u003c/a> and \u003ca href=\"http://www.npr.org/2014/07/10/330207735/a-closed-curtain-conceals-a-directors-real-confinement\" target=\"_blank\" rel=\"noopener\">Closed Curtain\u003c/a>, both made by Iranian dissident filmmakers who have \u003ca href=\"http://articles.latimes.com/2011/jan/14/entertainment/la-et-iranian-director-20110114\" target=\"_blank\" rel=\"noopener\">worked in defiance of official bans\u003c/a>. Those are stories that open a window onto a closed society. The usefulness of \u003cem>Rosewater,\u003c/em> meanwhile, seems limited to telling the story of one journalist who crossed paths with a well-connected American. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Jon+Stewart%27s+%27Rosewater%27+Reach+Exceeds+His+Grasp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s undoubtedly a farcical element to the true story told in \u003cem>Rosewater\u003c/em> that makes it seem like the ideal directorial debut for Jon Stewart.\u003c/p>\n\u003cp>The film is about \u003ca href=\"http://www.npr.org/2011/06/30/137521783/journalist-on-surviving-in-iran-don-t-name-names\" target=\"_blank\" rel=\"noopener\">Maziar Bahari\u003c/a> (Gael Garcia Bernal), who was jailed in 2009 in Tehran while covering the Iranian elections that would eventually spark widespread protests in the country. Bahari, an Iranian-Canadian based in London, was arrested after filming protests. But Stewart’s best-known connection to the story (which he adapted for the screen from Bahari’s memoir) is that a satirical interview that Bahari filmed with the \u003cem>Daily Show\u003c/em>‘s Jason Jones, which is re-created in the film, was used as evidence of his collusion with American “spies.”\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/k2D7TyCKOC0'\n title='//www.youtube.com/embed/k2D7TyCKOC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s hard not to laugh at that confusion, but considering that Bahari was held in solitary confinement for 118 days, that he was tortured physically and psychologically, and that he was ultimately coerced into recording a confession admitting that he had betrayed Iran, the joke is a very dark one. In \u003cem>Rosewater,\u003c/em>\u003cem> \u003c/em>Stewart shows no signs that he can handle such tonally complex material.\u003c/p>\n\u003cp>There are moments in \u003cem>Rosewater\u003c/em> where Stewart’s trademark wit shines through, but he largely avoids satire here, opting instead for lighthearted sincerity. The film begins with Bahari’s arrest before flashing back to show his arrival in Tehran and the buildup of tension before the election, in which the hard-line incumbent, President Mahmoud Ahmadinejad, faced serious competition from opposition candidates. Stewart shows us Bahari interviewing both the young anti-government activists who set up illegal satellite dishes to receive foreign news and the representatives for Ahmadinejad who refuse to admit any problem or accept any criticism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The mood is largely optimistic in these opening scenes even as it’s clear that a dark turn is coming in the story. At one point, during a montage of demonstrations in Tehran, a web of hashtags like #democracy and #protest floats by on screen. The sense here is of a government that’s out of touch, and an opposition that’s the obvious future of the country.\u003c/p>\n\u003cp>It’s all pretty tepid until the movie turns to Bahari’s incarceration, at which point Stewart’s choices become more disconcerting. The issue is not necessarily one of treating Bahari’s story tastefully; in fact, Stewart may have been too tasteful here. He packs jokes into a horrific situation, but never any that come close to ruffling feathers. Instead, they’re predictable knocks against the kinds of insular interrogators and government officials that wouldn’t be able to recognize the \u003cem>Daily Show’\u003c/em>s satire.\u003c/p>\n\u003cp>It’s also not necessarily a problem of Stewart’s choosing the wrong tone entirely. Rather, he vacillates between too many of them. When Stewart features news footage of a debate between Ahmadinejad and one of his main challengers, opposition leader Mir Hossein Mousavi, or real video of the violence against those protesting the contested election results, the most serious concerns surrounding Bahari’s arrest come into view. But in other moments, Stewart takes a more dismissive approach, treating Bahari’s interrogator, for example, as an unappreciated buffoon looking for recognition from his superiors. In those moments, Stewart seems to want to turn these men into trifling figures, refusing to give them even the benefit of serious treatment. There are times, too, when the film takes a more broadly inspirational tone, addressing itself to Bahari’s resolute spirit — itself an allegory, it would seem, for Iran’s quelled opposition.\u003c/p>\n\u003cp>One can imagine a film that combined these various approaches into a cohesive story, but in \u003cem>Rosewater\u003c/em> they’re blindly tossed together, and the result neither portrays the suffering of Bahari’s incarceration adequately nor lampoons the absurdities of the situation.\u003c/p>\n\u003cp>Even if nothing in \u003cem>Rosewater \u003c/em>makes you question Stewart’s good intentions in making the film, it’s hard to shake the the feeling that by taking a summer off from the \u003cem>Daily Show\u003c/em> to film the movie in Jordan, Stewart performed the equivalent of parachute journalism and cobbled together what plays as a watered-down version of Bahari’s story.\u003c/p>\n\u003cp>There’s little chance you’ll emerge from \u003cem>Rosewater\u003c/em> knowing much more about Iranian politics than when you started. The film admirably protests censorship and political repression, but it doesn’t push very hard to reveal new truths. It only superficially gets into what drove the protests Bahari was covering. And while it eventually acknowledges that the story of a foreign journalist with governments and international activists calling for his release says little about life for Iranians under the current regime, the admission comes late in the film and simply leaves it to other movies to dig deeper into the story.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, of course, many have, including recent films like \u003ca href=\"http://www.npr.org/2014/06/12/321324973/in-manuscripts-a-barred-filmmaker-considers-dissident-art\" target=\"_blank\" rel=\"noopener\">Manuscripts Don’t Burn\u003c/a> and \u003ca href=\"http://www.npr.org/2014/07/10/330207735/a-closed-curtain-conceals-a-directors-real-confinement\" target=\"_blank\" rel=\"noopener\">Closed Curtain\u003c/a>, both made by Iranian dissident filmmakers who have \u003ca href=\"http://articles.latimes.com/2011/jan/14/entertainment/la-et-iranian-director-20110114\" target=\"_blank\" rel=\"noopener\">worked in defiance of official bans\u003c/a>. Those are stories that open a window onto a closed society. The usefulness of \u003cem>Rosewater,\u003c/em> meanwhile, seems limited to telling the story of one journalist who crossed paths with a well-connected American. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=Jon+Stewart%27s+%27Rosewater%27+Reach+Exceeds+His+Grasp&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Find Out What's New in Hong Kong Cinema",
"headTitle": "Find Out What’s New in Hong Kong Cinema | KQED",
"content": "\u003cp>Hong Kong cinema! You need that exclamation point to capture the raw energy of the \u003ca href=\"http://www.filmcomment.com/article/milestones-key-hong-kong-movies-from-1996-to-2013\" target=\"_blank\" rel=\"noopener\">works produced\u003c/a> in the last 15 years or so by the region’s fertile film industry. Now in its fourth year, the San Francisco Film Society’s annual Hong Kong Cinema series brings a selection of the region’s latest and greatest (and sometimes tasteless) to town for your viewing pleasure. Check out Ann Hui’s The Golden Era, Hong Kong’s foreign submission to the Academy Awards and get a taste of various types of films coming out of Hong Kong, from high art to low comedy. \u003c/p>\n\u003cp>What follows is my assessment of the six films made available for preview.\u003c/p>\n\u003cfigure id=\"attachment_10145636\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/chungking.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/chungking.jpg\" alt=\"Chungking Express\" width=\"640\" height=\"420\" class=\"size-full wp-image-10145636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/chungking.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/chungking-400x262.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chungking Express\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/chungking-express#.VF73pPTF9ek\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch4>Chung King Express\u003c/h4>\n\u003cp> 20th Anniversary Screening\u003cbr>\n(1994, Wong Kar Wai)\u003c/p>\n\u003cp>Legendary director Wong Kar-Wai captures the French New Wave spirit and injects it with Hong Kong kineticism. Made up of two separate stories, each about cops pining for a former romance, parallels, coincidences and missed connections abound. More interested in situation, mood and metaphysics than story, Wong tinkers with conventional film structure and grammar to deliver a lyrical work in which striking images are coupled with a loose camera style. You can see the seeds of \u003ci>In The Mood For Love\u003c/i>, the director’s masterpiece, in \u003ci>Chung King Express\u003c/i>. Both films envision a universe in which true romance is forever dangled but always just out of reach. A fog of restrained longing hangs almost palpably over the proceedings, perfectly distilled in the almost preternatural resignation of the magnetically stoic Tony Leung. And don’t minimize Wong’s skill as a deployer of American music, equal to that of Tarantino, Scorsese and Wes Anderson, in figuring out what makes the film work. (Nov. 15, 3:45pm)\u003c/p>\n\u003cfigure id=\"attachment_10145637\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fromvegas.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fromvegas.jpg\" alt=\"From Vegas to Macau\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fromvegas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fromvegas-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>From Vegas to Macau\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/from-vegas-to-macau#.VF729fTF9ek\" target=\"_blank\" rel=\"noopener\">From Vegas to Macau\u003c/a>\u003c/h4>\n\u003cp>(2014, Wong Jing)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chow Yun-Fat returns in another installment of Wong’s \u003ca href=\"http://en.wikipedia.org/wiki/God_of_Gamblers\" target=\"_blank\" rel=\"noopener\">God of Gamblers series\u003c/a>. He’s Ken, the God of Gamblers, who can divine what cards are dealt by touch alone. Here he’s on a secret government mission to foil his nefarious rival, the money-laundering kingpin Mr. Ko. Fixing sporting events by doping players without them knowing it, Mr. Ko has invited a group of international crime lords to join him in his endeavors. Unfortunately for Ko, Ken enjoys such badass dexterity he has the ability to inflict mortal wounds by impaling his victims with the fling of a single playing card. That’s right, we’re not exactly talking Italian neo-realism here. But fun is fun, and the film has the virtue of two different sight gags involving men’s nipples. It’s all played for whacked-out laughs, though not every gag translates for an English-speaking audience. Americans can also expect some jokes at the expense of women that they are not going to find very funny. (Nov. 14, 7pm; Nov. 15 1:30pm)\u003c/p>\n\u003cfigure id=\"attachment_10145638\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/uncertain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/uncertain.jpg\" alt=\"Uncertain Relationships Society\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/uncertain.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/uncertain-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Uncertain Relationships Society\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/uncertain-relationships-society#.VF72VPTF9ek\" target=\"_blank\" rel=\"noopener\">Uncertain Relationships Society\u003c/a>\u003c/h4>\n\u003cp>(2014, Heiward Mak)\u003cbr>\nSet entirely in the world of 20-something, post-university, emotional and professional confusion, a group of friends, lovers, and in-betweens grapple with the complexities of close relationships and that thin, ineffable line dividing fondness and love. The film, very funny in parts, nicely captures the fraught feelings and urgent emotional pondering of a time in life when the only way to figure anything out is to make the same mistake repeatedly. Jumping back and forth between past and present, it takes a while to acclimate yourself to the film’s structure and keep all the characters and their every-changing hairstyles straight. At two hours, a 20-minute trim to eliminate some of the redundant points wouldn’t have hurt. But still, there is power in the image of fingers drumming on a table, extended almost furtively in hopes the person in the seat across will take up the offer. While the emotional life here skews young, has anyone of any age improved on this bit of wisdom, expressed by one of the characters toward the end? \u003c/p>\n\u003cp>“Do you know the differences between like and love? It’s the difference between how you feel toward me and how I feel toward you.” Ouch! (Nov. 15, 6pm)\u003c/p>\n\u003cfigure id=\"attachment_10145639\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goldenera.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goldenera.jpg\" alt=\"The Golden Era\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goldenera.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goldenera-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Golden Era\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/the-golden-era#.VF73YPTF9ek\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch4>The Golden Era\u003c/h4>\n\u003cp>\u003cbr>\n(2014, Ann Hui)\u003c/p>\n\u003cp>\u003cem>The Golden Era\u003c/em> depicts the short life and hard times of Xiao Hong, an important female writer in 1930s China, when Japanese intervention kept her peripatetic and imperiled. The film runs three hours, and you may have to be a lover of modern Chinese literature or at least acquainted with it to derive any sort of visceral thrill from this dutiful retelling of her life. Suffering from the same problem as only the most clever biopics, this long movie of a short life is still insufficient to get underneath the surface of so many events. The film’s lavish and atmospheric production and careful cinematography deliver some striking moments, particularly in depicting the powerlessness inherent in poverty and the small moments of resilience and joy that can exist despite it. But it’s the depth of feeling that radiates from the actress \u003ca href=\"http://en.wikipedia.org/wiki/Tang_Wei\" target=\"_blank\" rel=\"noopener\">Tang Wei\u003c/a>, playing Xiao Hong, that occasionally elevates the film from docu-drama to something approaching what you might find in \u003ca href=\"http://www.kirjasto.sci.fi/xiao.htm\" target=\"_blank\" rel=\"noopener\">the works of Xiao Hong\u003c/a> herself. Whether starving, sick, in love, or recovering from those things, Tang conveys a sensibility transcending all language barriers. The film is Hong Kong’s foreign submission to the Academy Awards. (Nov. 16, 3pm)\u003c/p>\n\u003cfigure id=\"attachment_10145641\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/aberdeen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/aberdeen.jpg\" alt=\"Aberdeen\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/aberdeen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/aberdeen-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Aberdeen\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/aberdeen#.VF7tpvTF9ek\" target=\"_blank\" rel=\"noopener\">Aberdeen\u003c/a>\u003c/h4>\n\u003cp>(2014, Pang Ho-Cheung) \u003c/p>\n\u003cp>Cultural and psychological forces produce unhappiness in each member of an extended family living in one Hong Kong town. A Taoist priest receives a call on his cell phone in the middle of a reincarnation ritual. His daughter believes her mother is sending a message of disapproval from beyond the grave. Her husband, a doctor, carries on an affair with his nurse while trying to meet the obligations of family. Meanwhile, her brother, a sort of self-help entrepreneur who runs seminars for women called “How to Marry a Rich Man,” psychologically devastates his wife with overtly negative feelings about his daughter’s plain looks. The wife, a model-actress, must contend with the casting couch and other sexual pressures rampant in the industry. The past haunts the present, the characters are pulled between modernity and superstition, and old attitudes must be reassessed. A solid piece of middlebrow entertainment, culturally enlightening for a Western audience, though somewhat heavy-handed. The unearthing of a bomb from World War II, for instance, just screams “symbolism.” Also: The conflict between the father, his wife, and their daughter resolves in a way that Americans might find disturbing but the film doesn’t seem to. (Nov. 16, 6:45pm)\u003c/p>\n\u003cfigure id=\"attachment_10145642\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/midnight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/midnight.jpg\" alt=\"After Midnight\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/midnight.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/midnight-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>After Midnight\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/the-midnight-after#.VF7plfTF9ek\" target=\"_blank\" rel=\"noopener\">The Midnight After\u003c/a>\u003c/h4>\n\u003cp>(2014, Fruit Chan)\u003c/p>\n\u003cp>The fact that \u003ci>The Midnight After\u003c/i> is based on a web novel by someone named “Pizza” shouldn’t be the determining factor in whether you see it. But consider it an indication of how much of what we liked to call, back in my New York City schoolyard days, crazy f***-up s***, you are going to have to sit through. Being either under 25 or Quentin Tarantino will help. This is a — let’s see — comic/horror/sci-fi/post-apocalyptic/disaster-pic melange, involving 17 characters on a bus from Kowloon to Tai Po. Well, they start out on a bus, but while going through a tunnel they somehow cross over into a world where everyone has disappeared. Among the hazards and mysteries the group must contend with: ominous figures in gas masks, a flesh-eating virus, and something to do with David Bowie’s “Space Oddity” — I kid you not. About an hour and 20 minutes in, a zombie appears, and my only thought was, “What took so long?” Some will find it all to be a a rollicking lark, a campy deconstructive pastiche. Others will attempt to pluck their eyes out. Features a late plot development concerning the Fukushima disaster. \u003c/p>\n\u003cp>Politically incorrect alert: Be on the lookout for a disturbing rape scene followed by an even more disturbing violating-the-female-corpse scene followed by a less-disturbing-but-still-nonetheless-disturbing everyone-takes-turns-stabbing-the-rapist scene. (Nov. 15, 9pm)\u003c/p>\n\u003cp>The other two films in the series, \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/the-white-haired-witch-of-lunar-kingdom#.VF7oUIdLrbQ\">\u003cem>The White Haired Witch of Lunar Kingdom\u003c/em>\u003c/a> and \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/overheard-3#.VF7pQPTF9ek\" target=\"_blank\" rel=\"noopener\">\u003cem>Overheard 3\u003c/em>\u003c/a> were unavailable for preview.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Hong Kong Cinema\u003c/b> runs Nov. 14-16, 2014 at the Vogue Theatre in San Francisco. For \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/hong-kong-cinema#.VGUGHYfyvJN\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hong Kong cinema! You need that exclamation point to capture the raw energy of the \u003ca href=\"http://www.filmcomment.com/article/milestones-key-hong-kong-movies-from-1996-to-2013\" target=\"_blank\" rel=\"noopener\">works produced\u003c/a> in the last 15 years or so by the region’s fertile film industry. Now in its fourth year, the San Francisco Film Society’s annual Hong Kong Cinema series brings a selection of the region’s latest and greatest (and sometimes tasteless) to town for your viewing pleasure. Check out Ann Hui’s The Golden Era, Hong Kong’s foreign submission to the Academy Awards and get a taste of various types of films coming out of Hong Kong, from high art to low comedy. \u003c/p>\n\u003cp>What follows is my assessment of the six films made available for preview.\u003c/p>\n\u003cfigure id=\"attachment_10145636\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/chungking.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/chungking.jpg\" alt=\"Chungking Express\" width=\"640\" height=\"420\" class=\"size-full wp-image-10145636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/chungking.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/chungking-400x262.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chungking Express\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/chungking-express#.VF73pPTF9ek\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch4>Chung King Express\u003c/h4>\n\u003cp> 20th Anniversary Screening\u003cbr>\n(1994, Wong Kar Wai)\u003c/p>\n\u003cp>Legendary director Wong Kar-Wai captures the French New Wave spirit and injects it with Hong Kong kineticism. Made up of two separate stories, each about cops pining for a former romance, parallels, coincidences and missed connections abound. More interested in situation, mood and metaphysics than story, Wong tinkers with conventional film structure and grammar to deliver a lyrical work in which striking images are coupled with a loose camera style. You can see the seeds of \u003ci>In The Mood For Love\u003c/i>, the director’s masterpiece, in \u003ci>Chung King Express\u003c/i>. Both films envision a universe in which true romance is forever dangled but always just out of reach. A fog of restrained longing hangs almost palpably over the proceedings, perfectly distilled in the almost preternatural resignation of the magnetically stoic Tony Leung. And don’t minimize Wong’s skill as a deployer of American music, equal to that of Tarantino, Scorsese and Wes Anderson, in figuring out what makes the film work. (Nov. 15, 3:45pm)\u003c/p>\n\u003cfigure id=\"attachment_10145637\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fromvegas.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/fromvegas.jpg\" alt=\"From Vegas to Macau\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fromvegas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/fromvegas-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>From Vegas to Macau\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/from-vegas-to-macau#.VF729fTF9ek\" target=\"_blank\" rel=\"noopener\">From Vegas to Macau\u003c/a>\u003c/h4>\n\u003cp>(2014, Wong Jing)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chow Yun-Fat returns in another installment of Wong’s \u003ca href=\"http://en.wikipedia.org/wiki/God_of_Gamblers\" target=\"_blank\" rel=\"noopener\">God of Gamblers series\u003c/a>. He’s Ken, the God of Gamblers, who can divine what cards are dealt by touch alone. Here he’s on a secret government mission to foil his nefarious rival, the money-laundering kingpin Mr. Ko. Fixing sporting events by doping players without them knowing it, Mr. Ko has invited a group of international crime lords to join him in his endeavors. Unfortunately for Ko, Ken enjoys such badass dexterity he has the ability to inflict mortal wounds by impaling his victims with the fling of a single playing card. That’s right, we’re not exactly talking Italian neo-realism here. But fun is fun, and the film has the virtue of two different sight gags involving men’s nipples. It’s all played for whacked-out laughs, though not every gag translates for an English-speaking audience. Americans can also expect some jokes at the expense of women that they are not going to find very funny. (Nov. 14, 7pm; Nov. 15 1:30pm)\u003c/p>\n\u003cfigure id=\"attachment_10145638\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/uncertain.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/uncertain.jpg\" alt=\"Uncertain Relationships Society\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/uncertain.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/uncertain-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Uncertain Relationships Society\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/uncertain-relationships-society#.VF72VPTF9ek\" target=\"_blank\" rel=\"noopener\">Uncertain Relationships Society\u003c/a>\u003c/h4>\n\u003cp>(2014, Heiward Mak)\u003cbr>\nSet entirely in the world of 20-something, post-university, emotional and professional confusion, a group of friends, lovers, and in-betweens grapple with the complexities of close relationships and that thin, ineffable line dividing fondness and love. The film, very funny in parts, nicely captures the fraught feelings and urgent emotional pondering of a time in life when the only way to figure anything out is to make the same mistake repeatedly. Jumping back and forth between past and present, it takes a while to acclimate yourself to the film’s structure and keep all the characters and their every-changing hairstyles straight. At two hours, a 20-minute trim to eliminate some of the redundant points wouldn’t have hurt. But still, there is power in the image of fingers drumming on a table, extended almost furtively in hopes the person in the seat across will take up the offer. While the emotional life here skews young, has anyone of any age improved on this bit of wisdom, expressed by one of the characters toward the end? \u003c/p>\n\u003cp>“Do you know the differences between like and love? It’s the difference between how you feel toward me and how I feel toward you.” Ouch! (Nov. 15, 6pm)\u003c/p>\n\u003cfigure id=\"attachment_10145639\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goldenera.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/goldenera.jpg\" alt=\"The Golden Era\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goldenera.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/goldenera-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Golden Era\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/the-golden-era#.VF73YPTF9ek\" target=\"_blank\" rel=\"noopener\">\u003c/a>\u003c/p>\n\u003ch4>The Golden Era\u003c/h4>\n\u003cp>\u003cbr>\n(2014, Ann Hui)\u003c/p>\n\u003cp>\u003cem>The Golden Era\u003c/em> depicts the short life and hard times of Xiao Hong, an important female writer in 1930s China, when Japanese intervention kept her peripatetic and imperiled. The film runs three hours, and you may have to be a lover of modern Chinese literature or at least acquainted with it to derive any sort of visceral thrill from this dutiful retelling of her life. Suffering from the same problem as only the most clever biopics, this long movie of a short life is still insufficient to get underneath the surface of so many events. The film’s lavish and atmospheric production and careful cinematography deliver some striking moments, particularly in depicting the powerlessness inherent in poverty and the small moments of resilience and joy that can exist despite it. But it’s the depth of feeling that radiates from the actress \u003ca href=\"http://en.wikipedia.org/wiki/Tang_Wei\" target=\"_blank\" rel=\"noopener\">Tang Wei\u003c/a>, playing Xiao Hong, that occasionally elevates the film from docu-drama to something approaching what you might find in \u003ca href=\"http://www.kirjasto.sci.fi/xiao.htm\" target=\"_blank\" rel=\"noopener\">the works of Xiao Hong\u003c/a> herself. Whether starving, sick, in love, or recovering from those things, Tang conveys a sensibility transcending all language barriers. The film is Hong Kong’s foreign submission to the Academy Awards. (Nov. 16, 3pm)\u003c/p>\n\u003cfigure id=\"attachment_10145641\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/aberdeen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/aberdeen.jpg\" alt=\"Aberdeen\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/aberdeen.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/aberdeen-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Aberdeen\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/aberdeen#.VF7tpvTF9ek\" target=\"_blank\" rel=\"noopener\">Aberdeen\u003c/a>\u003c/h4>\n\u003cp>(2014, Pang Ho-Cheung) \u003c/p>\n\u003cp>Cultural and psychological forces produce unhappiness in each member of an extended family living in one Hong Kong town. A Taoist priest receives a call on his cell phone in the middle of a reincarnation ritual. His daughter believes her mother is sending a message of disapproval from beyond the grave. Her husband, a doctor, carries on an affair with his nurse while trying to meet the obligations of family. Meanwhile, her brother, a sort of self-help entrepreneur who runs seminars for women called “How to Marry a Rich Man,” psychologically devastates his wife with overtly negative feelings about his daughter’s plain looks. The wife, a model-actress, must contend with the casting couch and other sexual pressures rampant in the industry. The past haunts the present, the characters are pulled between modernity and superstition, and old attitudes must be reassessed. A solid piece of middlebrow entertainment, culturally enlightening for a Western audience, though somewhat heavy-handed. The unearthing of a bomb from World War II, for instance, just screams “symbolism.” Also: The conflict between the father, his wife, and their daughter resolves in a way that Americans might find disturbing but the film doesn’t seem to. (Nov. 16, 6:45pm)\u003c/p>\n\u003cfigure id=\"attachment_10145642\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/midnight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/midnight.jpg\" alt=\"After Midnight\" width=\"640\" height=\"427\" class=\"size-full wp-image-10145642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/midnight.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/midnight-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>After Midnight\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch4>\u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/the-midnight-after#.VF7plfTF9ek\" target=\"_blank\" rel=\"noopener\">The Midnight After\u003c/a>\u003c/h4>\n\u003cp>(2014, Fruit Chan)\u003c/p>\n\u003cp>The fact that \u003ci>The Midnight After\u003c/i> is based on a web novel by someone named “Pizza” shouldn’t be the determining factor in whether you see it. But consider it an indication of how much of what we liked to call, back in my New York City schoolyard days, crazy f***-up s***, you are going to have to sit through. Being either under 25 or Quentin Tarantino will help. This is a — let’s see — comic/horror/sci-fi/post-apocalyptic/disaster-pic melange, involving 17 characters on a bus from Kowloon to Tai Po. Well, they start out on a bus, but while going through a tunnel they somehow cross over into a world where everyone has disappeared. Among the hazards and mysteries the group must contend with: ominous figures in gas masks, a flesh-eating virus, and something to do with David Bowie’s “Space Oddity” — I kid you not. About an hour and 20 minutes in, a zombie appears, and my only thought was, “What took so long?” Some will find it all to be a a rollicking lark, a campy deconstructive pastiche. Others will attempt to pluck their eyes out. Features a late plot development concerning the Fukushima disaster. \u003c/p>\n\u003cp>Politically incorrect alert: Be on the lookout for a disturbing rape scene followed by an even more disturbing violating-the-female-corpse scene followed by a less-disturbing-but-still-nonetheless-disturbing everyone-takes-turns-stabbing-the-rapist scene. (Nov. 15, 9pm)\u003c/p>\n\u003cp>The other two films in the series, \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/the-white-haired-witch-of-lunar-kingdom#.VF7oUIdLrbQ\">\u003cem>The White Haired Witch of Lunar Kingdom\u003c/em>\u003c/a> and \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/overheard-3#.VF7pQPTF9ek\" target=\"_blank\" rel=\"noopener\">\u003cem>Overheard 3\u003c/em>\u003c/a> were unavailable for preview.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Hong Kong Cinema\u003c/b> runs Nov. 14-16, 2014 at the Vogue Theatre in San Francisco. For \u003ca href=\"http://www.sffs.org/exhibition/fall-season-2014/hong-kong-cinema#.VGUGHYfyvJN\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The grill is scrubbed, the cake is baked and the backyard is decorated for a welcoming party. Needless to say, Liz is hard at work. After all, her son Bobby is returning from combat today and she wants this celebration to be perfect. With only a few finishing touches left, her son’s girlfriend Crystal swings by to help prepare for the big night. But something unspoken is wrong. Why is Liz so distracted? \u003c/p>\n\u003cp>Observe Veterans Day with the powerful short drama \u003ci>They Also Serve\u003c/i>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Celebrating the 20th Anniversary of the Greatest Movie No One Has Seen",
"headTitle": "Celebrating the 20th Anniversary of the Greatest Movie No One Has Seen | KQED",
"content": "\u003cp>Some will view it as foolhardy permissiveness, but I prefer to think of it as an admirable commitment to editorial eccentricity that KQED has allowed me to celebrate the 20th anniversary of a movie that most people have never even heard of.\u003c/p>\n\u003cp>I got the idea while interviewing Ted Hope, CEO of the streaming movie site Fandor, former head of the San Francisco International Film Festival, and producer on a lot of great independent films. I had noticed his resume includes one of my all-time faves, \u003ca href=\"http://www.imdb.com/name/nm0006888/\" target=\"_blank\" rel=\"noopener\">Tom Noonan\u003c/a>‘s \u003ci>What Happened Was…\u003c/i>, and I mentioned to Hope how much I’d loved the picture. His reaction was this: “You \u003ci>saw\u003c/i> it?”\u003c/p>\n\u003cfigure id=\"attachment_10145281\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/whathappendposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/whathappendposter.jpg\" alt=\"Tom Noonan's What Happened Was poster\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/whathappendposter.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/whathappendposter-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tom Noonan’s \u003ci>What Happened Was…\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Yeah, but I’d never met anyone else who had, even in a social set filled with cinephiles. Which has always irked me. The first time I saw \u003cem>What Happened Was…\u003c/em>, at The Bridge in San Francisco (\u003ca href=\"//sf.curbed.com/archives/2014/02/27/bridge_theatre_sold_for_2m_will_become_baseball_academy.php%E2%80%9D\">RIP\u003c/a>), I left the theater stunned. Some works articulate certain aspects of life in a manner that clarifies your own vague intuitions about the way things are. Gender, class, and racial differences will of course partly determine which stories you absorb viscerally and which you merely admire. But your level of appreciation for \u003ci>What Happened Was…\u003c/i> may be dictated by an altogether different dividing point: the amount of inertia you happen to be experiencing in your own life when you see it — how soul deadening your job, how cast adrift you are socially, how un-moored from past illusions concerning your own place in the world. The film to me has always seemed to perfectly capture the demoralizing fatigue of no longer being able to ignore the discrepancy between what you are and what you’d like to be.\u003c/p>\n\u003cp>The film won the Grand Jury Prize and the screenwriting award at Sundance, beating out \u003cem>Clerks\u003c/em> and \u003cem>Spanking the Monkey\u003c/em>. But tepid promotion and mixed reviews helped sink it at the box office. While \u003ca href=\"http://variety.com/1994/film/reviews/what-happened-was-1200435105/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em>\u003c/a> called it “an intriguing, often mysterious drama,” Roger Ebert, maybe the most influential critic in America at the time, \u003ca href=\"http://www.rogerebert.com/reviews/what-happened-was-1994\" target=\"_blank\" rel=\"noopener\">gave it a lackluster two-and-a-half stars\u003c/a>. He called it “interesting” and “a brave effort,” but noted “something missing.” Janet Maslin in the \u003ca href=\"http://www.nytimes.com/movie/review?res=9D04E3DF1F38F93AA3575AC0A962958260&partner=Rotten%2520Tomatoes\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> said it “never quite rings true.” The adjective of choice for Rita Kempley in \u003ca href=\"http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/whathappenedwasnrkempley_a0a491.htm\" target=\"_blank\" rel=\"noopener\">\u003cem>The Washington Post\u003c/em>\u003c/a>: “tiresome.”\u003c/p>\n\u003cp>The film does have its fans. Celebrated \u003ca href=\"//www.imdb.com/name/nm0442109/#writer%E2%80%9D\">screenwriter Charlie Kaufman\u003c/a> has \u003ca href=\"http://cgi1.usatoday.com/mchat/20040408003/tscript.htm\" target=\"_blank\" rel=\"noopener\">talked publicly\u003c/a> about \u003ca href=\"http://xixax.com/index.php?topic=239.5;wap2\" target=\"_blank\" rel=\"noopener\">how much he likes it\u003c/a>. And cinema polemicist and Boston University film and American studies professor Ray Carney has called Noonan, who has helmed just three other movies, the “\u003ca href=\"http://people.bu.edu/rcarney/indievision/other.shtml\" target=\"_blank\" rel=\"noopener\">greatest living American director\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Well, let’s not go crazy. Still, Noonan’s one man tour-de-force of moviemaking is just waiting to be rediscovered (or discovered), and I would maintain is one of the most overlooked films in contemporary American cinema. Many will recognize Noonan, a top-notch character actor, as “\u003ca href=\"https://www.google.com/search?q=tom+noonan+photos&oq=tom+noonan+photos&gws_rd=ssl\" target=\"_blank\" rel=\"noopener\">Oh yeah, that guy\u003c/a>,” from TV and films. Aside from writing, directing and starring in the film, Noonan composed the somber and affecting music score and designed the sound. Before all that he staged the script as a play, strictly for the purpose of bringing it to the screen. And the budget consisted primarily of the salary from his role as the villain in the Arnold Schwarzenegger vehicle \u003cem>The Last Action Hero\u003c/em>.\u003c/p>\n\u003ch2>Why This Film Is So Good\u003c/h2>\n\u003cp>The film has only two characters and takes place over the course of a single first date, all within the New York City apartment of Jackie (Karen Sillas), a 30-something administrative assistant at a law firm. Her partner in awkwardness is Michael (played by Noonan), an older, morose paralegal she works with. This scenario gives off the whiff of studio rom-com, and the original poster for the film might suggest a conventionally kooky, opposites-attract time. He is the embittered longtime underachieving low-level employee, a detached critic who believes he has accrued enough seniority and professional skill to call a spade a spade with impunity; she is the literal-minded former party girl with minimal education, firmly entrenched near the bottom of the office pecking order. She has vicariously thrilled to his refusal to play office politics.\u003c/p>\n\u003cp>But what gives the film its edge, besides the spellbinding performances, is the destructive way these two recognizable types from any pool of office workers try to navigate the commonplace occurrence of an embarrassing first date. Alternately hilarious and horrifying, their clumsy attempts at normative behavior and conversation slowly reveal the kind of trauma many people carry to work every day along with their microwavable lunches.\u003c/p>\n\u003cp>One may think a two-hander set in an apartment is inviting staginess and claustrophobia, no matter how satisfying the other elements. But you needn’t go any further than the opening elegiac sequence to see how Noonan’s effective use of limited space conjures up an atmosphere seeping with latent despair.\u003c/p>\n\u003cp>The film begins with an overhead shot of a woman in bed, half-naked, arms and legs splayed. Dead? No, she gropes for the alarm, as a miniature train encircles a clock, its path suggestive of unproductive effort. She leaves for work, but the camera remains home-bound, tracking the length of the apartment, the light from the windows cold and blue. For some reason, the woman has left the radio on. The camera comes to rest at a corner window, tilting up to a view of the building across the street, an unchanging monolith looming over our vantage point. The light changes in a series of time-lapse shots — from day to twilight to night. Who is the main character here, the woman or the apartment? The spaces we inhabit, we’re quite somberly reminded, continue to exist, whether we’re present or not. Finally, the camera pans down to the woman, home from work. She opens her front door, which we see as a reflection in a window. The hall light flickers. Flash pan, and we’re back inside the apartment. She shuts off the radio.\u003c/p>\n\u003cp>That is a mini-mood piece in itself, setting both tone and themes for a film that depicts characters who have never really inhabited their own lives.\u003c/p>\n\u003cp>“It’s hard for me to believe … that we’re not all just extras,” says Jackie later. ”We’re not really here.”\u003c/p>\n\u003cp>Rather than “open up” the action with gratuitous exteriors, Noonan continues to plumb the limited interior space throughout the film, finding new vistas in the contours of the apartment by perceiving it through the characters’ cracked personalities. Frequently he calculates his shots to reflect a psychological state of anxiety or barely suppressed hysteria. Typical is the blocking after Jackie has buzzed Michael in downstairs. As the camera dollys in to the front door, she flits in and out of frame on either side, like some demented pixie, straightening the house in a near panic. Later, when she reads to Michael from a children’s book she has written (starting with a blowjob and decapitation, and getting weirder from there), we see Michael’s growing agitation from a shot inside a dollhouse, as if it has been populated by the very characters from her horrific tale.\u003c/p>\n\u003cp>Noonan told me there’s more going on visually beneath the surface. He overexposed and under-printed the film (called \u003ca href=\"http://www.ilfordphoto.com/applications/page.asp?n=89\" target=\"_blank\" rel=\"noopener\">pull processing\u003c/a>) before Jackie reads her story, creating a muted look; and did the reverse — \u003ca href=\"http://www.ilfordphoto.com/applications/page.asp?n=88\" target=\"_blank\" rel=\"noopener\">push processing\u003c/a> — afterward, rendering the images grainier and the colors more vivid, to “make the story more raw,” he says. In addition, the color scheme was changed, down to switching a lone green fish in a tank to one that is red.\u003c/p>\n\u003cp>Noonan also toyed with the sound design. He had children scream lines from Jackie’s crazy story from the street below before we actually see that scene. “You’re hearing these voices say things that are subliminally going into your mind,” Noonan says, “and then later when she says them, you’ve already heard it.” He also took the disconcerting screech Jackie makes to emulate a car pulling out and put it under the sounds of her chair moving.\u003c/p>\n\u003cp>The reason?\u003c/p>\n\u003cp>“Repeating images and sounds can be pretty powerful in a movie – especially if (it’s) done without tipping your hand to the audience. If the audience hears something that they subliminally recognize, it has a good chance of bringing them into the story. Making what they are seeing new but (it) feels familiar. Did you know that when you are under great stress your brain releases a chemical associated with memory function and gives you the feeling that you’ve seen what you’re seeing before?”\u003c/p>\n\u003cp>Because he had done so much advance preparation with his director of photography, Joe De Salvo, it took Noonan and crew just 10 days to shoot.\u003c/p>\n\u003cp>“We shot listed and shot listed. We worked on how to shoot it for months. By the time we finally shot, we had worked out pretty much everything.”\u003c/p>\n\u003cp>That intense preparation included cementing the script. Reviewers have speculated some of the film may be improvised, a natural supposition since the dialogue, which contains virtually nothing extraneous to the story, \u003cem>feels\u003c/em> meandering.\u003c/p>\n\u003cp>“People think that (it was improvised) because it had such a naturalistic feeling,” Noonan says.”But a lot of those little flubs were things that were written in.”\u003c/p>\n\u003cp>As Jackie and Michael’s encounter progresses, harmless eccentricity gives way to hints of deep psychological dislocation. The possibility of both sex and violence infects their interaction, and it all leads up to a reveal that is both ordinary and all the more devastating for it.\u003c/p>\n\u003cp>I put \u003cem>What Happened Was…\u003c/em> in the same category as films like \u003ca href=\"http://ww2.kqed.org/arts/2013/02/26/california_films_safe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Safe\u003c/em>\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2013/05/29/california_films_3_women/\" target=\"_blank\" rel=\"noopener\">\u003cem>3 Women\u003c/em>\u003c/a> — works that convey horror without resorting to the supernatural, because what is truly frightening is that which is all around us but must be intentionally overlooked. Why? To get along, to fit in, or merely to keep a nervous breakdown at bay.\u003c/p>\n\u003ch2>Developing an Audience\u003c/h2>\n\u003cp>I looked for \u003cem>What Happened Was…\u003c/em>, which Noonan says cost just $137,000, on some Best of the 1990s lists, but all I could find was a \u003ca href=\"http://www.slantmagazine.com/house/2012/11/the-100-best-films-of-the-1990s/\" target=\"_blank\" rel=\"noopener\">mention in \u003ci>Slant Magazine\u003c/i>\u003c/a>, where it came in at No. 157.\u003c/p>\n\u003cp>Despite the accolades at Sundance, the film flopped upon release, both Noonan and producer Scott Macaulay say, partly because the Samuel Goldwyn Company put very little into its promotion.\u003c/p>\n\u003cp>“They decided to put all their money into (David Mamet’s) \u003cem>Oleanna\u003c/em> and very little into \u003cem>What Happened Was…”\u003c/em> Noonan says. After its opening at the Angelika in New York, “it went on a calendar house circuit around the country to little theaters. I think we only had two prints.”\u003c/p>\n\u003cp>Still, considering its unusual nature, you’d think the film would have developed \u003cem>some\u003c/em> sort of following over the years. One big impediment to that: It’s never been released on DVD.\u003c/p>\n\u003cp>“I think that’s probably the big reason why it’s been underexposed for the current generation of viewers,” says Macaulay.\u003c/p>\n\u003cp>While cautioning that independent film is still a risky proposition, Macaulay says it might be easier to build an audience for \u003cem>What Happened Was… \u003c/em>today. “We’re talking about a different era,” he says. “There are a lot of tools for filmmakers to get their work out today and promote their films, whether they’re getting distributed by larger companies or not. Those tools didn’t exist in 1994. A filmmaker’s presence can be amplified by social media, there are lower cost ways to market a film. A cult audience can be aggregated in a way that was more difficult back then.”\u003c/p>\n\u003cp>I asked Ted Hope if he thought the film might thrive more in today’s media ecosystem.\u003c/p>\n\u003cp>“\u003cem>What Happened Was …\u003c/em> garnered great and deep love from some passionate advocates during it’s brief run,” he answered in an email. “Could we have amplified that with today’s tools? Definitely. (But) the challenge of having it catch on today would be complicated further by the onslaught of everything else. Back in its day, it was rare to make something for $100K; today it is commonplace.\u003c/p>\n\u003cp>“There is no denying the film’s distinction though, and that will always be the first step towards aggregating anyone around anything.”\u003c/p>\n\u003cp>Noonan did not recoup his financial investment in the film. “I sold it for about 100-and-something, and it all went for deferrals for the crew, and I didn’t get anything,” he says. “It played in the theater and didn’t make any money. On Netflix it made very little.”\u003c/p>\n\u003cp>He went on to make just three other movies, including \u003ca href=\"http://www.nytimes.com/movie/review?res=9402EED71331F935A2575BC0A960958260\" target=\"_blank\" rel=\"noopener\">\u003ci>The Wife\u003c/i>\u003c/a>, which received better reviews from \u003ca href=\"http://www.rogerebert.com/reviews/the-wife-1997\" target=\"_blank\" rel=\"noopener\">Ebert\u003c/a> and the \u003ca href=\"http://www.nytimes.com/movie/review?res=9402EED71331F935A2575BC0A960958260\" target=\"_blank\" rel=\"noopener\">\u003ci>Times\u003c/i>\u003c/a>, and \u003cem>Wang Dang\u003c/em>, which Noonan says was ruined by his shooting it himself. His most recent is \u003ca href=\"//filmmakermagazine.com/84569-the-shape-of-something-squashed-director-tom-noonan-on-how-jennifer-lawrence-inspired-his-new-play/#.VFKNP4vF9ek%E2%80%9D\">\u003ci>The Shape of Something Squashed\u003c/i>\u003c/a>, from a play he wrote and directed for his New York City theater, The Paradise Factory. He has submitted that to Sundance and is waiting to hear back.\u003c/p>\n\u003cp>“It’s disappointing to me I haven’t done more,” he says. “I did \u003cem>What Happened Was… \u003c/em> and \u003cem>The Wife\u003c/em>, and I thought I’ll be doing this for the next 30 years, I’ll be like Woody allen, I’ll make 50 movies. But it’s been very disappointing.”\u003c/p>\n\u003cp>Still, \u003cem>What Happened Was…\u003c/em> is almost a career in itself.\u003c/p>\n\u003cp>\u003cem>You can rent or buy \u003ci>What Happened Was….\u003c/i> on \u003ca href=\"http://www.amazon.com/What-Happened-Was-Tom-Noonan/dp/B006YMMAGA\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a> or purchase it on \u003ca href=\"https://itunes.apple.com/us/movie/what-happened-was.../id489789629\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Note:\u003c/b> We corrected this post on November 11. \u003cem>Four Weddings and a Funeral\u003c/em> and \u003cem>Picture Bride\u003c/em> screened at Sundance, but were not in competition. \u003c/p>\n\n",
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"excerpt": "While interviewing Ted Hope, CEO of the streaming movie site Fandor, former head of the San Francisco International Film Festival, and producer on a lot of great independent films, I had noticed his resume includes one of my all-time faves, Tom Noonan's \u003ci>What Happened Was...\u003c/i>, and I mentioned how much I’d loved the picture. His reaction was an incredulous, “You \u003ci>saw\u003c/i> it?”\r\n",
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"description": "While interviewing Ted Hope, CEO of the streaming movie site Fandor, former head of the San Francisco International Film Festival, and producer on a lot of great independent films, I had noticed his resume includes one of my all-time faves, Tom Noonan's What Happened Was..., and I mentioned how much I’d loved the picture. His reaction was an incredulous, “You saw it?”\r\n",
"title": "Celebrating the 20th Anniversary of the Greatest Movie No One Has Seen | KQED",
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"headline": "Celebrating the 20th Anniversary of the Greatest Movie No One Has Seen",
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"description": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some will view it as foolhardy permissiveness, but I prefer to think of it as an admirable commitment to editorial eccentricity that KQED has allowed me to celebrate the 20th anniversary of a movie that most people have never even heard of.\u003c/p>\n\u003cp>I got the idea while interviewing Ted Hope, CEO of the streaming movie site Fandor, former head of the San Francisco International Film Festival, and producer on a lot of great independent films. I had noticed his resume includes one of my all-time faves, \u003ca href=\"http://www.imdb.com/name/nm0006888/\" target=\"_blank\" rel=\"noopener\">Tom Noonan\u003c/a>‘s \u003ci>What Happened Was…\u003c/i>, and I mentioned to Hope how much I’d loved the picture. His reaction was this: “You \u003ci>saw\u003c/i> it?”\u003c/p>\n\u003cfigure id=\"attachment_10145281\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/whathappendposter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10145281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/whathappendposter.jpg\" alt=\"Tom Noonan's What Happened Was poster\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/whathappendposter.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/whathappendposter-400x600.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tom Noonan’s \u003ci>What Happened Was…\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Yeah, but I’d never met anyone else who had, even in a social set filled with cinephiles. Which has always irked me. The first time I saw \u003cem>What Happened Was…\u003c/em>, at The Bridge in San Francisco (\u003ca href=\"//sf.curbed.com/archives/2014/02/27/bridge_theatre_sold_for_2m_will_become_baseball_academy.php%E2%80%9D\">RIP\u003c/a>), I left the theater stunned. Some works articulate certain aspects of life in a manner that clarifies your own vague intuitions about the way things are. Gender, class, and racial differences will of course partly determine which stories you absorb viscerally and which you merely admire. But your level of appreciation for \u003ci>What Happened Was…\u003c/i> may be dictated by an altogether different dividing point: the amount of inertia you happen to be experiencing in your own life when you see it — how soul deadening your job, how cast adrift you are socially, how un-moored from past illusions concerning your own place in the world. The film to me has always seemed to perfectly capture the demoralizing fatigue of no longer being able to ignore the discrepancy between what you are and what you’d like to be.\u003c/p>\n\u003cp>The film won the Grand Jury Prize and the screenwriting award at Sundance, beating out \u003cem>Clerks\u003c/em> and \u003cem>Spanking the Monkey\u003c/em>. But tepid promotion and mixed reviews helped sink it at the box office. While \u003ca href=\"http://variety.com/1994/film/reviews/what-happened-was-1200435105/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em>\u003c/a> called it “an intriguing, often mysterious drama,” Roger Ebert, maybe the most influential critic in America at the time, \u003ca href=\"http://www.rogerebert.com/reviews/what-happened-was-1994\" target=\"_blank\" rel=\"noopener\">gave it a lackluster two-and-a-half stars\u003c/a>. He called it “interesting” and “a brave effort,” but noted “something missing.” Janet Maslin in the \u003ca href=\"http://www.nytimes.com/movie/review?res=9D04E3DF1F38F93AA3575AC0A962958260&partner=Rotten%2520Tomatoes\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em>\u003c/a> said it “never quite rings true.” The adjective of choice for Rita Kempley in \u003ca href=\"http://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/whathappenedwasnrkempley_a0a491.htm\" target=\"_blank\" rel=\"noopener\">\u003cem>The Washington Post\u003c/em>\u003c/a>: “tiresome.”\u003c/p>\n\u003cp>The film does have its fans. Celebrated \u003ca href=\"//www.imdb.com/name/nm0442109/#writer%E2%80%9D\">screenwriter Charlie Kaufman\u003c/a> has \u003ca href=\"http://cgi1.usatoday.com/mchat/20040408003/tscript.htm\" target=\"_blank\" rel=\"noopener\">talked publicly\u003c/a> about \u003ca href=\"http://xixax.com/index.php?topic=239.5;wap2\" target=\"_blank\" rel=\"noopener\">how much he likes it\u003c/a>. And cinema polemicist and Boston University film and American studies professor Ray Carney has called Noonan, who has helmed just three other movies, the “\u003ca href=\"http://people.bu.edu/rcarney/indievision/other.shtml\" target=\"_blank\" rel=\"noopener\">greatest living American director\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Well, let’s not go crazy. Still, Noonan’s one man tour-de-force of moviemaking is just waiting to be rediscovered (or discovered), and I would maintain is one of the most overlooked films in contemporary American cinema. Many will recognize Noonan, a top-notch character actor, as “\u003ca href=\"https://www.google.com/search?q=tom+noonan+photos&oq=tom+noonan+photos&gws_rd=ssl\" target=\"_blank\" rel=\"noopener\">Oh yeah, that guy\u003c/a>,” from TV and films. Aside from writing, directing and starring in the film, Noonan composed the somber and affecting music score and designed the sound. Before all that he staged the script as a play, strictly for the purpose of bringing it to the screen. And the budget consisted primarily of the salary from his role as the villain in the Arnold Schwarzenegger vehicle \u003cem>The Last Action Hero\u003c/em>.\u003c/p>\n\u003ch2>Why This Film Is So Good\u003c/h2>\n\u003cp>The film has only two characters and takes place over the course of a single first date, all within the New York City apartment of Jackie (Karen Sillas), a 30-something administrative assistant at a law firm. Her partner in awkwardness is Michael (played by Noonan), an older, morose paralegal she works with. This scenario gives off the whiff of studio rom-com, and the original poster for the film might suggest a conventionally kooky, opposites-attract time. He is the embittered longtime underachieving low-level employee, a detached critic who believes he has accrued enough seniority and professional skill to call a spade a spade with impunity; she is the literal-minded former party girl with minimal education, firmly entrenched near the bottom of the office pecking order. She has vicariously thrilled to his refusal to play office politics.\u003c/p>\n\u003cp>But what gives the film its edge, besides the spellbinding performances, is the destructive way these two recognizable types from any pool of office workers try to navigate the commonplace occurrence of an embarrassing first date. Alternately hilarious and horrifying, their clumsy attempts at normative behavior and conversation slowly reveal the kind of trauma many people carry to work every day along with their microwavable lunches.\u003c/p>\n\u003cp>One may think a two-hander set in an apartment is inviting staginess and claustrophobia, no matter how satisfying the other elements. But you needn’t go any further than the opening elegiac sequence to see how Noonan’s effective use of limited space conjures up an atmosphere seeping with latent despair.\u003c/p>\n\u003cp>The film begins with an overhead shot of a woman in bed, half-naked, arms and legs splayed. Dead? No, she gropes for the alarm, as a miniature train encircles a clock, its path suggestive of unproductive effort. She leaves for work, but the camera remains home-bound, tracking the length of the apartment, the light from the windows cold and blue. For some reason, the woman has left the radio on. The camera comes to rest at a corner window, tilting up to a view of the building across the street, an unchanging monolith looming over our vantage point. The light changes in a series of time-lapse shots — from day to twilight to night. Who is the main character here, the woman or the apartment? The spaces we inhabit, we’re quite somberly reminded, continue to exist, whether we’re present or not. Finally, the camera pans down to the woman, home from work. She opens her front door, which we see as a reflection in a window. The hall light flickers. Flash pan, and we’re back inside the apartment. She shuts off the radio.\u003c/p>\n\u003cp>That is a mini-mood piece in itself, setting both tone and themes for a film that depicts characters who have never really inhabited their own lives.\u003c/p>\n\u003cp>“It’s hard for me to believe … that we’re not all just extras,” says Jackie later. ”We’re not really here.”\u003c/p>\n\u003cp>Rather than “open up” the action with gratuitous exteriors, Noonan continues to plumb the limited interior space throughout the film, finding new vistas in the contours of the apartment by perceiving it through the characters’ cracked personalities. Frequently he calculates his shots to reflect a psychological state of anxiety or barely suppressed hysteria. Typical is the blocking after Jackie has buzzed Michael in downstairs. As the camera dollys in to the front door, she flits in and out of frame on either side, like some demented pixie, straightening the house in a near panic. Later, when she reads to Michael from a children’s book she has written (starting with a blowjob and decapitation, and getting weirder from there), we see Michael’s growing agitation from a shot inside a dollhouse, as if it has been populated by the very characters from her horrific tale.\u003c/p>\n\u003cp>Noonan told me there’s more going on visually beneath the surface. He overexposed and under-printed the film (called \u003ca href=\"http://www.ilfordphoto.com/applications/page.asp?n=89\" target=\"_blank\" rel=\"noopener\">pull processing\u003c/a>) before Jackie reads her story, creating a muted look; and did the reverse — \u003ca href=\"http://www.ilfordphoto.com/applications/page.asp?n=88\" target=\"_blank\" rel=\"noopener\">push processing\u003c/a> — afterward, rendering the images grainier and the colors more vivid, to “make the story more raw,” he says. In addition, the color scheme was changed, down to switching a lone green fish in a tank to one that is red.\u003c/p>\n\u003cp>Noonan also toyed with the sound design. He had children scream lines from Jackie’s crazy story from the street below before we actually see that scene. “You’re hearing these voices say things that are subliminally going into your mind,” Noonan says, “and then later when she says them, you’ve already heard it.” He also took the disconcerting screech Jackie makes to emulate a car pulling out and put it under the sounds of her chair moving.\u003c/p>\n\u003cp>The reason?\u003c/p>\n\u003cp>“Repeating images and sounds can be pretty powerful in a movie – especially if (it’s) done without tipping your hand to the audience. If the audience hears something that they subliminally recognize, it has a good chance of bringing them into the story. Making what they are seeing new but (it) feels familiar. Did you know that when you are under great stress your brain releases a chemical associated with memory function and gives you the feeling that you’ve seen what you’re seeing before?”\u003c/p>\n\u003cp>Because he had done so much advance preparation with his director of photography, Joe De Salvo, it took Noonan and crew just 10 days to shoot.\u003c/p>\n\u003cp>“We shot listed and shot listed. We worked on how to shoot it for months. By the time we finally shot, we had worked out pretty much everything.”\u003c/p>\n\u003cp>That intense preparation included cementing the script. Reviewers have speculated some of the film may be improvised, a natural supposition since the dialogue, which contains virtually nothing extraneous to the story, \u003cem>feels\u003c/em> meandering.\u003c/p>\n\u003cp>“People think that (it was improvised) because it had such a naturalistic feeling,” Noonan says.”But a lot of those little flubs were things that were written in.”\u003c/p>\n\u003cp>As Jackie and Michael’s encounter progresses, harmless eccentricity gives way to hints of deep psychological dislocation. The possibility of both sex and violence infects their interaction, and it all leads up to a reveal that is both ordinary and all the more devastating for it.\u003c/p>\n\u003cp>I put \u003cem>What Happened Was…\u003c/em> in the same category as films like \u003ca href=\"http://ww2.kqed.org/arts/2013/02/26/california_films_safe/\" target=\"_blank\" rel=\"noopener\">\u003cem>Safe\u003c/em>\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2013/05/29/california_films_3_women/\" target=\"_blank\" rel=\"noopener\">\u003cem>3 Women\u003c/em>\u003c/a> — works that convey horror without resorting to the supernatural, because what is truly frightening is that which is all around us but must be intentionally overlooked. Why? To get along, to fit in, or merely to keep a nervous breakdown at bay.\u003c/p>\n\u003ch2>Developing an Audience\u003c/h2>\n\u003cp>I looked for \u003cem>What Happened Was…\u003c/em>, which Noonan says cost just $137,000, on some Best of the 1990s lists, but all I could find was a \u003ca href=\"http://www.slantmagazine.com/house/2012/11/the-100-best-films-of-the-1990s/\" target=\"_blank\" rel=\"noopener\">mention in \u003ci>Slant Magazine\u003c/i>\u003c/a>, where it came in at No. 157.\u003c/p>\n\u003cp>Despite the accolades at Sundance, the film flopped upon release, both Noonan and producer Scott Macaulay say, partly because the Samuel Goldwyn Company put very little into its promotion.\u003c/p>\n\u003cp>“They decided to put all their money into (David Mamet’s) \u003cem>Oleanna\u003c/em> and very little into \u003cem>What Happened Was…”\u003c/em> Noonan says. After its opening at the Angelika in New York, “it went on a calendar house circuit around the country to little theaters. I think we only had two prints.”\u003c/p>\n\u003cp>Still, considering its unusual nature, you’d think the film would have developed \u003cem>some\u003c/em> sort of following over the years. One big impediment to that: It’s never been released on DVD.\u003c/p>\n\u003cp>“I think that’s probably the big reason why it’s been underexposed for the current generation of viewers,” says Macaulay.\u003c/p>\n\u003cp>While cautioning that independent film is still a risky proposition, Macaulay says it might be easier to build an audience for \u003cem>What Happened Was… \u003c/em>today. “We’re talking about a different era,” he says. “There are a lot of tools for filmmakers to get their work out today and promote their films, whether they’re getting distributed by larger companies or not. Those tools didn’t exist in 1994. A filmmaker’s presence can be amplified by social media, there are lower cost ways to market a film. A cult audience can be aggregated in a way that was more difficult back then.”\u003c/p>\n\u003cp>I asked Ted Hope if he thought the film might thrive more in today’s media ecosystem.\u003c/p>\n\u003cp>“\u003cem>What Happened Was …\u003c/em> garnered great and deep love from some passionate advocates during it’s brief run,” he answered in an email. “Could we have amplified that with today’s tools? Definitely. (But) the challenge of having it catch on today would be complicated further by the onslaught of everything else. Back in its day, it was rare to make something for $100K; today it is commonplace.\u003c/p>\n\u003cp>“There is no denying the film’s distinction though, and that will always be the first step towards aggregating anyone around anything.”\u003c/p>\n\u003cp>Noonan did not recoup his financial investment in the film. “I sold it for about 100-and-something, and it all went for deferrals for the crew, and I didn’t get anything,” he says. “It played in the theater and didn’t make any money. On Netflix it made very little.”\u003c/p>\n\u003cp>He went on to make just three other movies, including \u003ca href=\"http://www.nytimes.com/movie/review?res=9402EED71331F935A2575BC0A960958260\" target=\"_blank\" rel=\"noopener\">\u003ci>The Wife\u003c/i>\u003c/a>, which received better reviews from \u003ca href=\"http://www.rogerebert.com/reviews/the-wife-1997\" target=\"_blank\" rel=\"noopener\">Ebert\u003c/a> and the \u003ca href=\"http://www.nytimes.com/movie/review?res=9402EED71331F935A2575BC0A960958260\" target=\"_blank\" rel=\"noopener\">\u003ci>Times\u003c/i>\u003c/a>, and \u003cem>Wang Dang\u003c/em>, which Noonan says was ruined by his shooting it himself. His most recent is \u003ca href=\"//filmmakermagazine.com/84569-the-shape-of-something-squashed-director-tom-noonan-on-how-jennifer-lawrence-inspired-his-new-play/#.VFKNP4vF9ek%E2%80%9D\">\u003ci>The Shape of Something Squashed\u003c/i>\u003c/a>, from a play he wrote and directed for his New York City theater, The Paradise Factory. He has submitted that to Sundance and is waiting to hear back.\u003c/p>\n\u003cp>“It’s disappointing to me I haven’t done more,” he says. “I did \u003cem>What Happened Was… \u003c/em> and \u003cem>The Wife\u003c/em>, and I thought I’ll be doing this for the next 30 years, I’ll be like Woody allen, I’ll make 50 movies. But it’s been very disappointing.”\u003c/p>\n\u003cp>Still, \u003cem>What Happened Was…\u003c/em> is almost a career in itself.\u003c/p>\n\u003cp>\u003cem>You can rent or buy \u003ci>What Happened Was….\u003c/i> on \u003ca href=\"http://www.amazon.com/What-Happened-Was-Tom-Noonan/dp/B006YMMAGA\" target=\"_blank\" rel=\"noopener\">Amazon\u003c/a> or purchase it on \u003ca href=\"https://itunes.apple.com/us/movie/what-happened-was.../id489789629\" target=\"_blank\" rel=\"noopener\">iTunes\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Note:\u003c/b> We corrected this post on November 11. \u003cem>Four Weddings and a Funeral\u003c/em> and \u003cem>Picture Bride\u003c/em> screened at Sundance, but were not in competition. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Interstellar': Stunning And Bold, With Lots Of Corn",
"headTitle": "‘Interstellar’: Stunning And Bold, With Lots Of Corn | KQED",
"content": "\u003cp>Time is a circle, just like Matthew McConaughey said in \u003cem>True Detective\u003c/em>. But it isn’t flat. It’s spherical.\u003c/p>\n\u003cp>\u003cem>Interstellar\u003c/em>, Christopher Nolan’s saline-and-starlight-streaked space-time epic, is so beautiful and ambitious and enveloping that to tick down its imperfections — drippy homilies about how love, especially the paternal kind, can transcend dimensions; an over-investment in its widower McCona-hero’s Chuck Yeager/Han Solo-esque expertise on the stick; abuse of a familiar Dylan Thomas quote — ultimately feels small. Released the week after two spaceflight disasters, one of them fatal, the movie is at once a hardscrabble vision of humanity’s darkest night (it opens with talking-head clips from Ken Burns’ 2012 PBS documentary \u003cem>The Dust Bowl\u003c/em> cannily blended with new footage) and a forceful — if not wholly convincing — declaration that we shall outlive our home planet. Human Exceptionalism, you might call its philosophy.\u003c/p>\n\u003cp>http://youtu.be/0vxOhd4qlnA\u003c/p>\n\u003cp>And yet of all the (not that many) kinda-sorta-plausible-ish space exploration flicks to launch since \u003cem>2001: A Space Odyssey\u003c/em> — which predated Neil Armstrong’s historic moonwalk by more than a year — \u003cem>Interstellar\u003c/em> is the most mercilessly awe-inducing. Even if you gag on its payload of sentiment, as many have and shall, it is the film of 2014 that demands to be experienced on the biggest screen available. Nolan would prefer that you see it in 70mm IMAX if you can; Paramount is making a well-publicized exception to its recent switch to exclusively digital exhibition formats just for him. That’s what three wildly successful Bat-movies buy you.\u003c/p>\n\u003cp>In the scenario cooked up by Nolan’s brother Jonathan, with an intellectual kick-start from astrophysicist Kip Thorne, our spendthrift 20th century ways have caught up with us in the unspecified middle or late 21st. Global famine and food wars have drastically thinned our herd. Militaries have disbanded (say what?), and almost everyone — even hotshot former test pilots like our man Cooper, who remembers the Good Old Days even though he’s only in his 40s — works the land, which now yields only corn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>NASA is a secret organization led by Michael Caine, Nolan’s go-to man for gravitas. In fact, his character is literally a gravity expert, one who has spent decades trying to crack an equation that will enable humanity’s migration to Somewhere Else. What’s more, his team — Anne Hathaway, David Gyasi and Wes Bentley, plus a sarcastic military-surplus robot voiced and manipulated, at least in some scenes, by the brilliant, elastic-limbed clown Bill Irwin — have identified a dozen potentially habitable planets accessible via wormhole, those express lanes across the cosmos that Thorne has theorized. NASA’s best guess is that the wormhole and the planets were put there for us by extraterrestrial intellects vast, cool and weirdly sympathetic. But they need Cooper’s Right Stuff to get to Saturn, where the wormhole is. It’s unclear who was going to handle the driving if an eventually explained series of mysterious portents hadn’t led Cooper and Murph, his 10-year-old budding genius daughter, to their secret lair.\u003c/p>\n\u003cp>The Earthbound first act feels a lot like the Spielberg picture this was once set to be. (Also like M. Night Shyamalan’s thriller \u003cem>Signs\u003c/em>, starring America’s favorite stoic widower circa 2002, Mel Gibson.) As with every Nolan movie, there’s a clockwork narrative logic to it that eventually reveals itself, even if your willing suspension of disbelief has burned up by then.\u003c/p>\n\u003cp>Anyway, Cooper must leave behind his two kids — Murph and Tom, her less gifted big brother — to try to save the species. Kubrick wouldn’t have wasted a tear on an equation as lopsided as that, but Nolan turns on the waterworks (and Hans Zimmer’s church-organ score), cutting from the bereft Cooper’s drive away from his Norman Rockwell-esque house to the countdown of his rocket. It’s the first of many bravura dialogue-free moments that make \u003cem>Interstellar\u003c/em>‘s 169 minutes feel … well, like less than 169 minutes. (I saw it twice in three days and I was never bored.) Here’s another: Their spacecraft, bearing the weary designation \u003cem>Endurance\u003c/em>, pinwheels across the rings of Saturn while we hear the thunderstorm-sounds recording Gyasi is playing on his headphones.\u003c/p>\n\u003cp>I wouldn’t have minded a bit if Nolan had lingered on these space vistas more than he does. (Cinematographer Hoyte van Hoytema, of \u003cem>Let the Right One In\u003c/em> and \u003cem>Her\u003c/em>, has composed frames well worth the extra few bucks to see them in true IMAX.) But he’s got a supermassive (and highly spoilable) story to tell, one that keeps him rushing even given the lengthy run time. One thing Kubrick never was was \u003cem>hurried\u003c/em>.\u003c/p>\n\u003cp>Iceland stands in for a pair of beautiful, forbidding planets, but its most stunning environments are computer visualizations born of legit science: Thorne gave the film’s army of digital effects artists the equations to visualize both the wormhole and the black hole seen in the film, leading to breakthroughs in “gravitational lensing.” Nolan had reserved the right to assert artistic license if the images Thorne’s equations produced were too plain or simply too weird for audiences to process, but the objects his data generated — a shiny black soap-bubble in space, and a black hole with a fiery halo of starlight wrapped around it like the string of a yo-yo — are what we see. “This is our observational data,” Thorne\u003ca href=\"http://www.wired.com/2014/10/astrophysics-interstellar-black-hole/\" target=\"_blank\" rel=\"noopener\"> told Wired magazine\u003c/a>. “That’s the way nature behaves. Period.” (This is not to say others don’t take issue with the science on the whole, as astronomer Phil Plait \u003ca href=\"http://www.slate.com/articles/health_and_science/space_20/2014/11/interstellar_science_review_the_movie_s_black_holes_wormholes_relativity.html\" target=\"_blank\" rel=\"noopener\">does in Slate\u003c/a>.)\u003c/p>\n\u003cp>Nolan made his name with \u003cem>Memento\u003c/em>, a tricksy mystery that moved in two temporal directions at once. In the 14 years since, his movies have swollen to monumental scale, but he still compresses and elongates the fourth dimension more poetically than any other blockbuster-maker. Who better than him to make a film dealing so explicitly with relativity?\u003c/p>\n\u003cp>Other good sci-fi pictures have addressed the existential, sanity-testing loneliness of sailing across eternity in a can. \u003cem>Interstellar\u003c/em> does that, too, but it’s probably the first presumptive blockbuster to grapple, even clumsily, with the problem that everyone you loved back on your home world would almost certainly grow to surpass you in age. (It takes two years in cryo-sleep just to get to the wormhole, apart from the time-dilation problem.) Some of the consequences of this make for stirring, emotional stuff, even if the movie isn’t as profound as it wants us to believe.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nolan, a director often accused of coldness, finally got all mushy when he went to outer space. I can’t solve that equation, but I’ve enjoyed trying to scratch it out. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Interstellar%27%3A+Stunning+And+Bold%2C+With+Lots+Of+Corn&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Time is a circle, just like Matthew McConaughey said in \u003cem>True Detective\u003c/em>. But it isn’t flat. It’s spherical.\u003c/p>\n\u003cp>\u003cem>Interstellar\u003c/em>, Christopher Nolan’s saline-and-starlight-streaked space-time epic, is so beautiful and ambitious and enveloping that to tick down its imperfections — drippy homilies about how love, especially the paternal kind, can transcend dimensions; an over-investment in its widower McCona-hero’s Chuck Yeager/Han Solo-esque expertise on the stick; abuse of a familiar Dylan Thomas quote — ultimately feels small. Released the week after two spaceflight disasters, one of them fatal, the movie is at once a hardscrabble vision of humanity’s darkest night (it opens with talking-head clips from Ken Burns’ 2012 PBS documentary \u003cem>The Dust Bowl\u003c/em> cannily blended with new footage) and a forceful — if not wholly convincing — declaration that we shall outlive our home planet. Human Exceptionalism, you might call its philosophy.\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/0vxOhd4qlnA'\n title='//www.youtube.com/embed/0vxOhd4qlnA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And yet of all the (not that many) kinda-sorta-plausible-ish space exploration flicks to launch since \u003cem>2001: A Space Odyssey\u003c/em> — which predated Neil Armstrong’s historic moonwalk by more than a year — \u003cem>Interstellar\u003c/em> is the most mercilessly awe-inducing. Even if you gag on its payload of sentiment, as many have and shall, it is the film of 2014 that demands to be experienced on the biggest screen available. Nolan would prefer that you see it in 70mm IMAX if you can; Paramount is making a well-publicized exception to its recent switch to exclusively digital exhibition formats just for him. That’s what three wildly successful Bat-movies buy you.\u003c/p>\n\u003cp>In the scenario cooked up by Nolan’s brother Jonathan, with an intellectual kick-start from astrophysicist Kip Thorne, our spendthrift 20th century ways have caught up with us in the unspecified middle or late 21st. Global famine and food wars have drastically thinned our herd. Militaries have disbanded (say what?), and almost everyone — even hotshot former test pilots like our man Cooper, who remembers the Good Old Days even though he’s only in his 40s — works the land, which now yields only corn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>NASA is a secret organization led by Michael Caine, Nolan’s go-to man for gravitas. In fact, his character is literally a gravity expert, one who has spent decades trying to crack an equation that will enable humanity’s migration to Somewhere Else. What’s more, his team — Anne Hathaway, David Gyasi and Wes Bentley, plus a sarcastic military-surplus robot voiced and manipulated, at least in some scenes, by the brilliant, elastic-limbed clown Bill Irwin — have identified a dozen potentially habitable planets accessible via wormhole, those express lanes across the cosmos that Thorne has theorized. NASA’s best guess is that the wormhole and the planets were put there for us by extraterrestrial intellects vast, cool and weirdly sympathetic. But they need Cooper’s Right Stuff to get to Saturn, where the wormhole is. It’s unclear who was going to handle the driving if an eventually explained series of mysterious portents hadn’t led Cooper and Murph, his 10-year-old budding genius daughter, to their secret lair.\u003c/p>\n\u003cp>The Earthbound first act feels a lot like the Spielberg picture this was once set to be. (Also like M. Night Shyamalan’s thriller \u003cem>Signs\u003c/em>, starring America’s favorite stoic widower circa 2002, Mel Gibson.) As with every Nolan movie, there’s a clockwork narrative logic to it that eventually reveals itself, even if your willing suspension of disbelief has burned up by then.\u003c/p>\n\u003cp>Anyway, Cooper must leave behind his two kids — Murph and Tom, her less gifted big brother — to try to save the species. Kubrick wouldn’t have wasted a tear on an equation as lopsided as that, but Nolan turns on the waterworks (and Hans Zimmer’s church-organ score), cutting from the bereft Cooper’s drive away from his Norman Rockwell-esque house to the countdown of his rocket. It’s the first of many bravura dialogue-free moments that make \u003cem>Interstellar\u003c/em>‘s 169 minutes feel … well, like less than 169 minutes. (I saw it twice in three days and I was never bored.) Here’s another: Their spacecraft, bearing the weary designation \u003cem>Endurance\u003c/em>, pinwheels across the rings of Saturn while we hear the thunderstorm-sounds recording Gyasi is playing on his headphones.\u003c/p>\n\u003cp>I wouldn’t have minded a bit if Nolan had lingered on these space vistas more than he does. (Cinematographer Hoyte van Hoytema, of \u003cem>Let the Right One In\u003c/em> and \u003cem>Her\u003c/em>, has composed frames well worth the extra few bucks to see them in true IMAX.) But he’s got a supermassive (and highly spoilable) story to tell, one that keeps him rushing even given the lengthy run time. One thing Kubrick never was was \u003cem>hurried\u003c/em>.\u003c/p>\n\u003cp>Iceland stands in for a pair of beautiful, forbidding planets, but its most stunning environments are computer visualizations born of legit science: Thorne gave the film’s army of digital effects artists the equations to visualize both the wormhole and the black hole seen in the film, leading to breakthroughs in “gravitational lensing.” Nolan had reserved the right to assert artistic license if the images Thorne’s equations produced were too plain or simply too weird for audiences to process, but the objects his data generated — a shiny black soap-bubble in space, and a black hole with a fiery halo of starlight wrapped around it like the string of a yo-yo — are what we see. “This is our observational data,” Thorne\u003ca href=\"http://www.wired.com/2014/10/astrophysics-interstellar-black-hole/\" target=\"_blank\" rel=\"noopener\"> told Wired magazine\u003c/a>. “That’s the way nature behaves. Period.” (This is not to say others don’t take issue with the science on the whole, as astronomer Phil Plait \u003ca href=\"http://www.slate.com/articles/health_and_science/space_20/2014/11/interstellar_science_review_the_movie_s_black_holes_wormholes_relativity.html\" target=\"_blank\" rel=\"noopener\">does in Slate\u003c/a>.)\u003c/p>\n\u003cp>Nolan made his name with \u003cem>Memento\u003c/em>, a tricksy mystery that moved in two temporal directions at once. In the 14 years since, his movies have swollen to monumental scale, but he still compresses and elongates the fourth dimension more poetically than any other blockbuster-maker. Who better than him to make a film dealing so explicitly with relativity?\u003c/p>\n\u003cp>Other good sci-fi pictures have addressed the existential, sanity-testing loneliness of sailing across eternity in a can. \u003cem>Interstellar\u003c/em> does that, too, but it’s probably the first presumptive blockbuster to grapple, even clumsily, with the problem that everyone you loved back on your home world would almost certainly grow to surpass you in age. (It takes two years in cryo-sleep just to get to the wormhole, apart from the time-dilation problem.) Some of the consequences of this make for stirring, emotional stuff, even if the movie isn’t as profound as it wants us to believe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nolan, a director often accused of coldness, finally got all mushy when he went to outer space. I can’t solve that equation, but I’ve enjoyed trying to scratch it out. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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=%27Interstellar%27%3A+Stunning+And+Bold%2C+With+Lots+Of+Corn&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Force Majeure,' Society Crumbles Under An Avalanche",
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"content": "\u003cp>Off to the side of the wickedly funny Swedish black comedy \u003cem>Force Majeure\u003c/em> lurks a minor but significant figure with a sour, slightly saturnine face. The man is a cleaner in a fancy French Alps ski hotel and he hardly says a word. But his wordless hovering inspires dread, nervous laughter or both. Which pretty much sums up \u003cem>Force Majeure\u003c/em>‘s adroit shifts of tone, and quite possibly its director’s take on the ways of the hip urban bourgeoisie.\u003c/p>\n\u003cp>Cleaners dig for dirt, and this expressionless snooper keeps popping up to intrude on the unraveling of a seemingly perfect couple. They’re so wrapped up in their bickering efforts to restore equilibrium, they fail to notice that they’ve locked their two young children in a room with a creepy stranger who could pass for an ax murderer.\u003c/p>\n\u003cp>A successful businessman who seems equally pleased with his good looks and his cell phone, Tomas (Johannes Bah Kuhnke) has come to this pricy resort to relax with his trophy wife, Ebba (Lisa Loven Kingsli), and their two children. They make a sleek, perfect domestic unit in a perfect, smooth-running hotel, all clean lines and blond wood.\u003c/p>\n\u003cp>http://youtu.be/tZZhB6AUo9k\u003c/p>\n\u003cp>Well, forget that: \u003cem>Force Majeure\u003c/em> is framed around the fast-moving degradation of the couple’s week-long vacation, which heads south after a supposedly controlled explosion backfires, setting off an avalanche that bears down on the family’s patio lunch. Instead of protecting his family, Tomas snatches up his phone and takes off. So much for alpha males, and it’s not over yet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Physically, everyone’s fine, but a shocked Ebba can’t stop repeating the story of her husband’s escape to anyone who will listen, as well as some who’d rather not. The couple’s unease quickly infects the friends who join them: a red-headed, hyper-masculine Viking type (Kristofer Hivju) who looks a bit like an escapee from the set of \u003cem>Brave\u003c/em>, and his pert, much younger girlfriend (Fanni Metelius). Here, writer-director Ruben Ostlund pauses to poke more fun at patriarchy, but no one in this increasingly unpleasant, hapless crew gets off unscathed.\u003c/p>\n\u003cp>Ostlund is a gifted creator of malignant ambience, which he masterfully uses to keep his audience wound tight and unsure whether the payoff in catastrophe will be physical, emotional or both. He bathes us in pervasive unease (electric toothbrushes play a recurring role) rendered all the more sinister by a snowy backdrop of breathtaking blues and grays.\u003c/p>\n\u003cp>Of course, nature is no more authentic than anything else in this fiendishly contrived movie, in which natural beauty is CG-enhanced to the point of hysteria: The heavy silence is disturbed only by the soft swish of skis on pristine snow or the brittle chatter of ski-suited hotel guests seeking hookups. Those man-made explosions elicit jumps, but in no way prepare you for the feral misbehavior that disrupts this borderline fascistic milieu, only to disappear into white fog — then reappear for encores.\u003c/p>\n\u003cp>In one of the film most entertaining moments, an unhinged Tomas sinks to the floor and launches into a confession like a fearful 8-year-old. Yet Ostlund isn’t just getting under the skin of a smug bourgeois marriage. \u003cem>Force Majeure\u003c/em> is about the paper-thin fragility of civilization itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not a terribly original insight, but it’s cunningly driven home by a crucial turn of the screw when a crowd of homeward-bound vacationers walks down a mountain in a kind of ecstatic silence, aware of precisely how much human frailty they share in common. Metaphorically speaking, one in particular has just been dragged from a very high horse. Let’s just say that that person’s consort is quite pleased. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+%27Force+Majeure%2C%27+Society+Crumbles+Under+An+Avalanche&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Off to the side of the wickedly funny Swedish black comedy \u003cem>Force Majeure\u003c/em> lurks a minor but significant figure with a sour, slightly saturnine face. The man is a cleaner in a fancy French Alps ski hotel and he hardly says a word. But his wordless hovering inspires dread, nervous laughter or both. Which pretty much sums up \u003cem>Force Majeure\u003c/em>‘s adroit shifts of tone, and quite possibly its director’s take on the ways of the hip urban bourgeoisie.\u003c/p>\n\u003cp>Cleaners dig for dirt, and this expressionless snooper keeps popping up to intrude on the unraveling of a seemingly perfect couple. They’re so wrapped up in their bickering efforts to restore equilibrium, they fail to notice that they’ve locked their two young children in a room with a creepy stranger who could pass for an ax murderer.\u003c/p>\n\u003cp>A successful businessman who seems equally pleased with his good looks and his cell phone, Tomas (Johannes Bah Kuhnke) has come to this pricy resort to relax with his trophy wife, Ebba (Lisa Loven Kingsli), and their two children. They make a sleek, perfect domestic unit in a perfect, smooth-running hotel, all clean lines and blond wood.\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/tZZhB6AUo9k'\n title='//www.youtube.com/embed/tZZhB6AUo9k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, forget that: \u003cem>Force Majeure\u003c/em> is framed around the fast-moving degradation of the couple’s week-long vacation, which heads south after a supposedly controlled explosion backfires, setting off an avalanche that bears down on the family’s patio lunch. Instead of protecting his family, Tomas snatches up his phone and takes off. So much for alpha males, and it’s not over yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Physically, everyone’s fine, but a shocked Ebba can’t stop repeating the story of her husband’s escape to anyone who will listen, as well as some who’d rather not. The couple’s unease quickly infects the friends who join them: a red-headed, hyper-masculine Viking type (Kristofer Hivju) who looks a bit like an escapee from the set of \u003cem>Brave\u003c/em>, and his pert, much younger girlfriend (Fanni Metelius). Here, writer-director Ruben Ostlund pauses to poke more fun at patriarchy, but no one in this increasingly unpleasant, hapless crew gets off unscathed.\u003c/p>\n\u003cp>Ostlund is a gifted creator of malignant ambience, which he masterfully uses to keep his audience wound tight and unsure whether the payoff in catastrophe will be physical, emotional or both. He bathes us in pervasive unease (electric toothbrushes play a recurring role) rendered all the more sinister by a snowy backdrop of breathtaking blues and grays.\u003c/p>\n\u003cp>Of course, nature is no more authentic than anything else in this fiendishly contrived movie, in which natural beauty is CG-enhanced to the point of hysteria: The heavy silence is disturbed only by the soft swish of skis on pristine snow or the brittle chatter of ski-suited hotel guests seeking hookups. Those man-made explosions elicit jumps, but in no way prepare you for the feral misbehavior that disrupts this borderline fascistic milieu, only to disappear into white fog — then reappear for encores.\u003c/p>\n\u003cp>In one of the film most entertaining moments, an unhinged Tomas sinks to the floor and launches into a confession like a fearful 8-year-old. Yet Ostlund isn’t just getting under the skin of a smug bourgeois marriage. \u003cem>Force Majeure\u003c/em> is about the paper-thin fragility of civilization itself.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not a terribly original insight, but it’s cunningly driven home by a crucial turn of the screw when a crowd of homeward-bound vacationers walks down a mountain in a kind of ecstatic silence, aware of precisely how much human frailty they share in common. Metaphorically speaking, one in particular has just been dragged from a very high horse. Let’s just say that that person’s consort is quite pleased. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 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+%27Force+Majeure%2C%27+Society+Crumbles+Under+An+Avalanche&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Captain Marvel: The Surprising History of How Female Superheroes Came to Be",
"title": "Captain Marvel: The Surprising History of How Female Superheroes Came to Be",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cstrong>By Matthew Jent\u003c/strong>\u003c/p>\n\u003cp>Marvel Studios recently announced their \"phase three\" line of feature films. Phases are a thing the Marvel Studios folks like to break their movies down into, roughly broken up by new \u003cem>Avengers\u003c/em> movies. Phase two introduced \u003ca href=\"http://en.wikipedia.org/wiki/Guardians_of_the_Galaxy_%28film%29\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> this summer, \u003ca href=\"http://www.forbes.com/sites/markhughes/2014/10/07/guardians-of-the-galaxy-could-cross-800-million-at-box-office/\">which proceeded to make all of the money in the world\u003c/a>. Along with a few more \u003cem>Avengers\u003c/em> movies, a \u003cem>GotG \u003c/em>sequel, and a sorcerous franchise-starter called \u003cem>Doctor Strange\u003c/em>, Marvel \u003ca href=\"http://www.bleedingcool.com/2014/10/28/marvel-announces-phase-three-from-2016-including-black-panther-and-thor-ragnarok/\">also announced a 2018 movie called \u003cem>Captain Marvel\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Good name! But who \u003cem>is\u003c/em> Captain Marvel?\u003c/p>\n\u003cp>She (!!!) will be Marvel’s first female headliner of her own movie. After several franchise-spanning appearances by Scarlett Johnasson’s Black Widow, \u003ca href=\"http://www.comicbookresources.com/?page=article&id=54522\">Marvel Studios President Kevin Feige said, “It comes down to timing,”\u003c/a> with regard to a female-led superhero movie. Apparently that time is 2018, \u003ca href=\"http://deadline.com/2014/10/kevin-tsujihara-time-warner-investor-day-warner-bros-ceo-presentation-851823/\">just a year after Warner Bros. releases a \u003cem>Wonder Woman\u003c/em> film\u003c/a>.\u003c/p>\n\u003cp>Captain Marvel's secret identity is Carol Danvers and, in the comics, she was an Air Force officer who was friendly with “Mar-Vell,” an alien who was Marvel’s \u003cem>first \u003c/em>Captain Marvel. In 1977, she became Ms. Marvel (“This Female Fights Back!”), \u003cem>then\u003c/em> she became a half-alien called Binary, \u003cem>then\u003c/em> her consciousness was absorbed by Rogue (\u003ca href=\"http://img2.wikia.nocookie.net/__cb20120402025147/xmenmovies/images/4/4e/Anna-paquin-xmen-rogue.jpg\">Anna Paquin in the \u003cem>X-Men\u003c/em> movies\u003c/a>), \u003cem>then\u003c/em> she was an alcoholic member of the Avengers called \u003ca href=\"http://uncannyxmen.net/sites/default/files/images/crossover/livekree3.jpg\">Warbird\u003c/a>, and finally in 2012 she became, by name, Captain Marvel. Phew!\u003c/p>\n\u003cfigure id=\"attachment_14013\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers.jpg\">\u003cimg class=\"wp-image-14013 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a more thorough history of \u003ca href=\"http://comicsalliance.com/captain-marvel-history-carol-danvers-mar-vell-shazam/\">Marvel’s Captain Marvel over on Comics Alliance\u003c/a>. Of note? For a few years in the 1980s, Captain Marvel was an African-American woman and leader of the Avengers. \u003ca href=\"http://www.comicbookresources.com/?page=article&id=55178\">There was also \u003cem>another\u003c/em> Captain Marvel, currently published by DC Comics, who most folks know as Shazam\u003c/a>. That character is getting his own movie in 2019. Marvel has the trademark for “Captain Marvel” through some legal juggling explained in the links above, but the short version is -- they snapped up the trademark for the character without actually having a character called Captain Marvel and, since the late 1960s, occasionally published a \u003cem>Captain Marvel\u003c/em> series in order to keep the trademark active.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Captain Marvel started out as a male, silver-blonde, albeit alien superhero. But Marvel has a storied history of creating female versions of their characters for trademark purposes. Aside from Wonder Woman (\u003ca href=\"http://www.thedailybeast.com/articles/2014/11/03/wonder-woman-s-creation-story-is-wilder-than-you-could-ever-imagine.html\">whose own story is covered in an excellent new book called \u003cem>The Secret History of Wonder Woman\u003c/em>, by Jill Lepore\u003c/a>), a lot of female superheroes are gender-swapped versions of existing male heroes.\u003c/p>\n\u003cp>In the late 1970s, \u003ca href=\"http://en.wikipedia.org/wiki/The_Incredible_Hulk_%281978_TV_series%29\">\u003cem>The Incredible Hulk\u003c/em>\u003c/a> was a hit TV show for Marvel and CBS. It was an action-adventure series for boys, not dissimilar to \u003ca href=\"http://en.wikipedia.org/wiki/The_Six_Million_Dollar_Man\">\u003cem>The Six Million Dollar Man\u003c/em>\u003c/a>, which was about a cyborg solving people’s problems. \u003cem>The Six Million Dollar Man\u003c/em> was spun off into \u003ca href=\"http://en.wikipedia.org/wiki/The_Bionic_Woman\">\u003cem>The Bionic Woman\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had its parent program’s same premise except with, you know, a lady. Marvel’s contract with the \u003cem>Hulk’s\u003c/em> production company said that any new characters created for the TV show would be owned by the production company, and not Marvel. So before they could scoop Marvel with a Hulk Woman, Marvel created the \u003ca href=\"http://en.wikipedia.org/wiki/She-Hulk\">She-Hulk\u003c/a>.\u003c/p>\n\u003cp>As \u003ca href=\"https://twitter.com/the_moviebob\">Bob Chipman\u003c/a> breaks down more fully in \u003ca href=\"http://www.escapistmagazine.com/videos/view/the-big-picture/9260-She-Hulk-Shaming\">this Big Picture video\u003c/a> called “She-Hulk Shaming,” She-Hulk became one of Marvel’s “quietly subversive creations … sort of progressive, and after a fashion even feminist.” Though, at first, she was called the “Savage She-Hulk,” the character evolved into something much more interesting over the decades. While the, um, He-Hulk turns into a green monster who doesn’t know his own strength, She-Hulk retains her intelligence and memories when she turns green. In most of her appearances, she even retains her profession (when she’s not engaged in superheroics with the Avengers, she’s a practicing attorney).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg\">\u003cimg class=\"alignleft wp-image-14014 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg\" alt=\"03 She-Hulk 2014 excerpt\" width=\"400\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-800x615.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-1440x1107.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg 1600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>While the name “She-Hulk” remains unfortunate, and while the character’s powers are a cut-and-paste job of her cousin the Hulk’s, the fact that she retains her agency and intelligence is progressive. As Chipman says, “A woman in comics who gets powers and doesn’t really suffer for them? That \u003cem>is\u003c/em> new, that \u003cem>is\u003c/em> interesting.”\u003c/p>\n\u003cp>Marvel’s \u003ca href=\"http://en.wikipedia.org/wiki/Spider-Woman_%28Jessica_Drew%29\">Spider-Woman\u003c/a> was introduced in 1978 for similar reasons. \u003ca href=\"http://en.wikipedia.org/wiki/The_Amazing_Spider-Man_%28TV_series%29\">\u003cem>The Amazing Spider-Man\u003c/em>\u003c/a> was a short-lived, live-action series that aired around the same time as \u003cem>The Incredible Hulk\u003c/em>, and then-publisher (\u003ca href=\"http://youtu.be/kLVBcCkVWb0\">and current cameo king\u003c/a>) Stan Lee explained, “I suddenly realized that some other company may quickly put out a book like that and claim they have the right to use the name, and I thought we’d better do it real fast to copyright the name. So we just batted one (out) quickly.”\u003c/p>\n\u003cfigure id=\"attachment_14015\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01.jpg\">\u003cimg class=\"wp-image-14015\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01-400x610.jpg\" alt=\"04 SW01\" width=\"200\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01-400x610.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01.jpg 800w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike She-Hulk, Marvel didn’t try to connect Spider-Woman to her male counterpart. But the downside to that was a character who didn’t have a very solid foundation. In her first appearance, Spider-Woman is literally a spider who has turned into a woman\u003cem>.\u003c/em> This was \u003ca href=\"http://en.wikipedia.org/wiki/Retroactive_continuity\">retconned\u003c/a> to be a memory implant and she was recast as a spy (later a double-agent {later still, a triple-agent}). Her series didn’t last long, but, like most superheroes, she appears and reappears with new powers, new secret identities, and a new number-one-issue every few years. Most recently, \u003ca href=\"http://popwatch.ew.com/2014/08/20/spider-woman-derriere-posterior-rump/\">she was briefly controversial for being something of a contortionist\u003c/a>.\u003c/p>\n\u003cp>Copyrights and trademarks are hella complicated, but even though Marvel recently cancelled She-Hulk’s latest monthly series, it won’t be too long before it returns. They have to use the trademark to retain it, and using trademarks is not something they have trouble doing.\u003c/p>\n\u003cp>So after all of this, with so many female superheroes to choose from, why is Captain Marvel the first from Marvel Studios to headline her own feature? \u003ca href=\"http://carolcorps.tumblr.com/\">Enter the Carol Corps\u003c/a>.\u003c/p>\n\u003cp>Both Carol Danvers and Captain Marvel have been around since the late 1960s, but Carol \u003cem>as \u003c/em>Captain Marvel is a relatively new creation. The upside to having to regularly use a trademark like Captain Marvel, even though the character has never found much success, means Marvel is willing to try something new every few years. Carol graduated from Ms. Marvel to Captain Marvel in 2012 with a cool new costume and design. She left her one-piece swimsuit and thigh-boots behind and got a really cool haircut. Cosplayers, a growing and sizable audience at comics conventions, started showing off some equally impressive Captain Marvel outfits pretty much right away.\u003c/p>\n\u003cp>Earlier this year -- before the movie was announced -- \u003ca href=\"http://www.wired.com/2014/04/captain-marvel-carol-corps/\">Wired\u003c/a> talked to former \u003cem>Captain Marvel \u003c/em>writer \u003ca href=\"https://twitter.com/kellysue\">Kelly Sue DeConnick\u003c/a> about the Carol Corps and the new Captain Marvel.\u003c/p>\n\u003cp>“It is not a formal organization,” she said. “There are no rules. People write and ask me all the time, ‘How do I join the Carol Corps?’ You join Carol Corps by saying you are Carol Corps.”\u003c/p>\n\u003cfigure id=\"attachment_14016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int.jpg\">\u003cimg class=\"wp-image-14016 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s the key to the new Captain Marvel’s popularity: inclusivity. If the stereotype of a superhero fan is pointlessly academic arguments about who is stronger, the Hulk or the Thing, the Carol Corps is about being part of a group, and -- finally -- seeing a character who looks like you in the comic books you like to read.\u003c/p>\n\u003cp>A \u003cem>Captain Marvel\u003c/em> reader and Carol Corps member named Jennifer DePrey told Wired she, “always kind of avoided superhero comics. If I was looking for a superhero that I felt was like me, her costume was a bikini and thigh-high boots or had a boob window.”\u003c/p>\n\u003cp>But that changed with the Carol Danvers Captain Marvel.\u003c/p>\n\u003cp>“One issue in, I was like, ‘This is my superhero. This is the character I wish I’d had when I was 12.”\u003c/p>\n\u003cfigure id=\"attachment_14017\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover.jpg\">\u003cimg class=\"wp-image-14017\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg\" alt=\"Photo: Marvel\" width=\"200\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-800x1230.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover.jpg 954w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>With Carol as Captain, and since no trademark must lay fallow in the field, there’s a new Ms. Marvel, too. Her secret identity is Kamala Khan, and she’s a sixteen-year-old Pakistani-American Muslim. Marvel, which does not release hard digital sales numbers, says \u003ca href=\"http://comicsbeat.com/ms-marvel-is-marvels-1-digital-seller/\">\u003cem>Ms. Marvel\u003c/em> is their #1 digital seller\u003c/a>. Maybe this version of Ms. Marvel only exists to retain the trademark, but no matter the reasoning, there is a teenage Muslim superhero being published by Marvel Comics. That’s not just “quietly subversive” -- that’s crazy cool.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It can feel a little weird wading into the business side of art, but Marvel is owned by Disney, and superheroes are big business. And if maintaining trademarks, growing brand awareness, and corporate synergy can lead to the representation -- on the comics page or the silver screen -- of folks who aren’t used to seeing themselves portrayed as fully realized characters with emotional depth and really rad superpowers? Well, that’s kind of hard to argue with, isn’t it?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Matthew Jent\u003c/strong>\u003c/p>\n\u003cp>Marvel Studios recently announced their \"phase three\" line of feature films. Phases are a thing the Marvel Studios folks like to break their movies down into, roughly broken up by new \u003cem>Avengers\u003c/em> movies. Phase two introduced \u003ca href=\"http://en.wikipedia.org/wiki/Guardians_of_the_Galaxy_%28film%29\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> this summer, \u003ca href=\"http://www.forbes.com/sites/markhughes/2014/10/07/guardians-of-the-galaxy-could-cross-800-million-at-box-office/\">which proceeded to make all of the money in the world\u003c/a>. Along with a few more \u003cem>Avengers\u003c/em> movies, a \u003cem>GotG \u003c/em>sequel, and a sorcerous franchise-starter called \u003cem>Doctor Strange\u003c/em>, Marvel \u003ca href=\"http://www.bleedingcool.com/2014/10/28/marvel-announces-phase-three-from-2016-including-black-panther-and-thor-ragnarok/\">also announced a 2018 movie called \u003cem>Captain Marvel\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Good name! But who \u003cem>is\u003c/em> Captain Marvel?\u003c/p>\n\u003cp>She (!!!) will be Marvel’s first female headliner of her own movie. After several franchise-spanning appearances by Scarlett Johnasson’s Black Widow, \u003ca href=\"http://www.comicbookresources.com/?page=article&id=54522\">Marvel Studios President Kevin Feige said, “It comes down to timing,”\u003c/a> with regard to a female-led superhero movie. Apparently that time is 2018, \u003ca href=\"http://deadline.com/2014/10/kevin-tsujihara-time-warner-investor-day-warner-bros-ceo-presentation-851823/\">just a year after Warner Bros. releases a \u003cem>Wonder Woman\u003c/em> film\u003c/a>.\u003c/p>\n\u003cp>Captain Marvel's secret identity is Carol Danvers and, in the comics, she was an Air Force officer who was friendly with “Mar-Vell,” an alien who was Marvel’s \u003cem>first \u003c/em>Captain Marvel. In 1977, she became Ms. Marvel (“This Female Fights Back!”), \u003cem>then\u003c/em> she became a half-alien called Binary, \u003cem>then\u003c/em> her consciousness was absorbed by Rogue (\u003ca href=\"http://img2.wikia.nocookie.net/__cb20120402025147/xmenmovies/images/4/4e/Anna-paquin-xmen-rogue.jpg\">Anna Paquin in the \u003cem>X-Men\u003c/em> movies\u003c/a>), \u003cem>then\u003c/em> she was an alcoholic member of the Avengers called \u003ca href=\"http://uncannyxmen.net/sites/default/files/images/crossover/livekree3.jpg\">Warbird\u003c/a>, and finally in 2012 she became, by name, Captain Marvel. Phew!\u003c/p>\n\u003cfigure id=\"attachment_14013\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers.jpg\">\u003cimg class=\"wp-image-14013 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/02MarvelCovers-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a more thorough history of \u003ca href=\"http://comicsalliance.com/captain-marvel-history-carol-danvers-mar-vell-shazam/\">Marvel’s Captain Marvel over on Comics Alliance\u003c/a>. Of note? For a few years in the 1980s, Captain Marvel was an African-American woman and leader of the Avengers. \u003ca href=\"http://www.comicbookresources.com/?page=article&id=55178\">There was also \u003cem>another\u003c/em> Captain Marvel, currently published by DC Comics, who most folks know as Shazam\u003c/a>. That character is getting his own movie in 2019. Marvel has the trademark for “Captain Marvel” through some legal juggling explained in the links above, but the short version is -- they snapped up the trademark for the character without actually having a character called Captain Marvel and, since the late 1960s, occasionally published a \u003cem>Captain Marvel\u003c/em> series in order to keep the trademark active.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Captain Marvel started out as a male, silver-blonde, albeit alien superhero. But Marvel has a storied history of creating female versions of their characters for trademark purposes. Aside from Wonder Woman (\u003ca href=\"http://www.thedailybeast.com/articles/2014/11/03/wonder-woman-s-creation-story-is-wilder-than-you-could-ever-imagine.html\">whose own story is covered in an excellent new book called \u003cem>The Secret History of Wonder Woman\u003c/em>, by Jill Lepore\u003c/a>), a lot of female superheroes are gender-swapped versions of existing male heroes.\u003c/p>\n\u003cp>In the late 1970s, \u003ca href=\"http://en.wikipedia.org/wiki/The_Incredible_Hulk_%281978_TV_series%29\">\u003cem>The Incredible Hulk\u003c/em>\u003c/a> was a hit TV show for Marvel and CBS. It was an action-adventure series for boys, not dissimilar to \u003ca href=\"http://en.wikipedia.org/wiki/The_Six_Million_Dollar_Man\">\u003cem>The Six Million Dollar Man\u003c/em>\u003c/a>, which was about a cyborg solving people’s problems. \u003cem>The Six Million Dollar Man\u003c/em> was spun off into \u003ca href=\"http://en.wikipedia.org/wiki/The_Bionic_Woman\">\u003cem>The Bionic Woman\u003c/em>\u003c/a>\u003cem>, \u003c/em>which had its parent program’s same premise except with, you know, a lady. Marvel’s contract with the \u003cem>Hulk’s\u003c/em> production company said that any new characters created for the TV show would be owned by the production company, and not Marvel. So before they could scoop Marvel with a Hulk Woman, Marvel created the \u003ca href=\"http://en.wikipedia.org/wiki/She-Hulk\">She-Hulk\u003c/a>.\u003c/p>\n\u003cp>As \u003ca href=\"https://twitter.com/the_moviebob\">Bob Chipman\u003c/a> breaks down more fully in \u003ca href=\"http://www.escapistmagazine.com/videos/view/the-big-picture/9260-She-Hulk-Shaming\">this Big Picture video\u003c/a> called “She-Hulk Shaming,” She-Hulk became one of Marvel’s “quietly subversive creations … sort of progressive, and after a fashion even feminist.” Though, at first, she was called the “Savage She-Hulk,” the character evolved into something much more interesting over the decades. While the, um, He-Hulk turns into a green monster who doesn’t know his own strength, She-Hulk retains her intelligence and memories when she turns green. In most of her appearances, she even retains her profession (when she’s not engaged in superheroics with the Avengers, she’s a practicing attorney).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg\">\u003cimg class=\"alignleft wp-image-14014 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg\" alt=\"03 She-Hulk 2014 excerpt\" width=\"400\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-400x307.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-800x615.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt-1440x1107.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/03-She-Hulk-2014-excerpt.jpg 1600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem> \u003c/em>\u003c/strong>While the name “She-Hulk” remains unfortunate, and while the character’s powers are a cut-and-paste job of her cousin the Hulk’s, the fact that she retains her agency and intelligence is progressive. As Chipman says, “A woman in comics who gets powers and doesn’t really suffer for them? That \u003cem>is\u003c/em> new, that \u003cem>is\u003c/em> interesting.”\u003c/p>\n\u003cp>Marvel’s \u003ca href=\"http://en.wikipedia.org/wiki/Spider-Woman_%28Jessica_Drew%29\">Spider-Woman\u003c/a> was introduced in 1978 for similar reasons. \u003ca href=\"http://en.wikipedia.org/wiki/The_Amazing_Spider-Man_%28TV_series%29\">\u003cem>The Amazing Spider-Man\u003c/em>\u003c/a> was a short-lived, live-action series that aired around the same time as \u003cem>The Incredible Hulk\u003c/em>, and then-publisher (\u003ca href=\"http://youtu.be/kLVBcCkVWb0\">and current cameo king\u003c/a>) Stan Lee explained, “I suddenly realized that some other company may quickly put out a book like that and claim they have the right to use the name, and I thought we’d better do it real fast to copyright the name. So we just batted one (out) quickly.”\u003c/p>\n\u003cfigure id=\"attachment_14015\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01.jpg\">\u003cimg class=\"wp-image-14015\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/04-SW01-400x610.jpg\" alt=\"04 SW01\" width=\"200\" height=\"305\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01-400x610.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/04-SW01.jpg 800w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike She-Hulk, Marvel didn’t try to connect Spider-Woman to her male counterpart. But the downside to that was a character who didn’t have a very solid foundation. In her first appearance, Spider-Woman is literally a spider who has turned into a woman\u003cem>.\u003c/em> This was \u003ca href=\"http://en.wikipedia.org/wiki/Retroactive_continuity\">retconned\u003c/a> to be a memory implant and she was recast as a spy (later a double-agent {later still, a triple-agent}). Her series didn’t last long, but, like most superheroes, she appears and reappears with new powers, new secret identities, and a new number-one-issue every few years. Most recently, \u003ca href=\"http://popwatch.ew.com/2014/08/20/spider-woman-derriere-posterior-rump/\">she was briefly controversial for being something of a contortionist\u003c/a>.\u003c/p>\n\u003cp>Copyrights and trademarks are hella complicated, but even though Marvel recently cancelled She-Hulk’s latest monthly series, it won’t be too long before it returns. They have to use the trademark to retain it, and using trademarks is not something they have trouble doing.\u003c/p>\n\u003cp>So after all of this, with so many female superheroes to choose from, why is Captain Marvel the first from Marvel Studios to headline her own feature? \u003ca href=\"http://carolcorps.tumblr.com/\">Enter the Carol Corps\u003c/a>.\u003c/p>\n\u003cp>Both Carol Danvers and Captain Marvel have been around since the late 1960s, but Carol \u003cem>as \u003c/em>Captain Marvel is a relatively new creation. The upside to having to regularly use a trademark like Captain Marvel, even though the character has never found much success, means Marvel is willing to try something new every few years. Carol graduated from Ms. Marvel to Captain Marvel in 2012 with a cool new costume and design. She left her one-piece swimsuit and thigh-boots behind and got a really cool haircut. Cosplayers, a growing and sizable audience at comics conventions, started showing off some equally impressive Captain Marvel outfits pretty much right away.\u003c/p>\n\u003cp>Earlier this year -- before the movie was announced -- \u003ca href=\"http://www.wired.com/2014/04/captain-marvel-carol-corps/\">Wired\u003c/a> talked to former \u003cem>Captain Marvel \u003c/em>writer \u003ca href=\"https://twitter.com/kellysue\">Kelly Sue DeConnick\u003c/a> about the Carol Corps and the new Captain Marvel.\u003c/p>\n\u003cp>“It is not a formal organization,” she said. “There are no rules. People write and ask me all the time, ‘How do I join the Carol Corps?’ You join Carol Corps by saying you are Carol Corps.”\u003c/p>\n\u003cfigure id=\"attachment_14016\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int.jpg\">\u003cimg class=\"wp-image-14016 size-thumbnail\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg\" alt=\"Photo: Marvel\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/05CapMarv_int-1440x1080.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s the key to the new Captain Marvel’s popularity: inclusivity. If the stereotype of a superhero fan is pointlessly academic arguments about who is stronger, the Hulk or the Thing, the Carol Corps is about being part of a group, and -- finally -- seeing a character who looks like you in the comic books you like to read.\u003c/p>\n\u003cp>A \u003cem>Captain Marvel\u003c/em> reader and Carol Corps member named Jennifer DePrey told Wired she, “always kind of avoided superhero comics. If I was looking for a superhero that I felt was like me, her costume was a bikini and thigh-high boots or had a boob window.”\u003c/p>\n\u003cp>But that changed with the Carol Danvers Captain Marvel.\u003c/p>\n\u003cp>“One issue in, I was like, ‘This is my superhero. This is the character I wish I’d had when I was 12.”\u003c/p>\n\u003cfigure id=\"attachment_14017\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover.jpg\">\u003cimg class=\"wp-image-14017\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg\" alt=\"Photo: Marvel\" width=\"200\" height=\"308\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-400x615.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover-800x1230.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2014/11/06MsMarv_Cover.jpg 954w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Marvel\u003c/figcaption>\u003c/figure>\n\u003cp>With Carol as Captain, and since no trademark must lay fallow in the field, there’s a new Ms. Marvel, too. Her secret identity is Kamala Khan, and she’s a sixteen-year-old Pakistani-American Muslim. Marvel, which does not release hard digital sales numbers, says \u003ca href=\"http://comicsbeat.com/ms-marvel-is-marvels-1-digital-seller/\">\u003cem>Ms. Marvel\u003c/em> is their #1 digital seller\u003c/a>. Maybe this version of Ms. Marvel only exists to retain the trademark, but no matter the reasoning, there is a teenage Muslim superhero being published by Marvel Comics. That’s not just “quietly subversive” -- that’s crazy cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It can feel a little weird wading into the business side of art, but Marvel is owned by Disney, and superheroes are big business. And if maintaining trademarks, growing brand awareness, and corporate synergy can lead to the representation -- on the comics page or the silver screen -- of folks who aren’t used to seeing themselves portrayed as fully realized characters with emotional depth and really rad superpowers? Well, that’s kind of hard to argue with, isn’t it?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You can’t sit with us. On Wednesdays, we wear pink. It’s October 3rd. 10 years after the release of \u003cem>Mean Girls\u003c/em>, we’re still quoting it and watching it at least three times a year. And, in case you somehow managed to forget how awesome this teen classic is, the cast \u003ca href=\"http://ww2.kqed.org/pop/2014/11/05/mean-girls-cast-reunite-and-spill-secrets-10-years-later/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/pop/2014/11/05/mean-girls-cast-reunite-and-spill-secrets-10-years-later/\" target=\"_self\" title=\"‘Mean Girls’ Cast Reunite and Spill Secrets, 10 Years Later\" rel=\"noopener\">Pop Movies\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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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"marketplace": {
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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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"masters-of-scale": {
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"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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"order": 5
},
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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"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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