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"content": "\u003cp>The tension between low and high culture has been a part of the movies for a century, since the first seers and poets introduced artistic elements to a populist medium. But most distinctions eroded pretty completely by the ‘90s, when a serial-killer movie won the Best Picture Oscar (\u003cem>The Silence of the Lambs\u003c/em>, 1991) and a stylized crime yarn (\u003cem>Pulp Fiction\u003c/em>, 1994) won the top prize at Cannes \u003cem>and\u003c/em> grossed $100 million at the U.S. box office.\u003c/p>\n\u003cp>The upshot is there’s no such thing as a guilty pleasure anymore. We can freely enjoy the base pleasures of genre films, and revel in Academy Award-winners playing superheroes in comic-book movies. Even our hallowed havens of \u003ci>cin-e-mah\u003c/i>, such as the Pacific Film Archive, long ago embraced the “lower depths,” from ‘80s Hong Kong action flicks to William Castle’s cheesy chillers of the ‘50s and ‘60s to Seijun Suzuki’s baroque ‘60s gangster movies.\u003c/p>\n\u003cp>The film program at Yerba Buena Center For the Arts typically edges even further out on the fringes, showcasing internationally celebrated but non-commercial auteurs such as Apichatpong “Joe” Weerasethakul alongside sexploitation pioneers like Doris Wishman. Now comes \u003cb>A Tribute Retrospective to the Exploitation of William Lustig\u003c/b>, the weekend-long centerpiece of \u003cb>Bay Area Now 7: Invasion of the Cinemaniacs!\u003c/b>, an eclectic survey of the \u003cem>outré\u003c/em> tastes of a host of devoted Bay Area film buffs and programmers. The man responsible for bringing Lustig to town is Jesse Hawthorne Ficks, the ardent force of nature behind the \u003cb>Midnites for Maniacs\u003c/b> shows at the Castro and a teacher at Academy of Art College (where he inculcates impressionable minds in the sociological value of disposable genre movies).\u003c/p>\n\u003cfigure id=\"attachment_10140463\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\" alt=\"1980 Maniac poster\" width=\"580\" height=\"850\" class=\"size-full wp-image-10140463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-400x586.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-204x300.jpg 204w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1980 \u003ci>Maniac\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>William Lustig flat-out loves movies, watching ‘em and making ‘em, and seems to savor the problem-solving aspect of low-budget, independent movie-making as much as the creative challenge. The Bronx native scored his first grindhouse hit with \u003cem>Maniac\u003c/em> (1980), the grisly tale of a serial murderer who terrorizes the pretty women of on-the-skids New York that opens the no-frills series Fri., Aug. 15 at 7pm in an unrated director’s cut.\u003c/p>\n\u003cp>His follow-up, \u003cem>Vigilante\u003c/em> (1983), a more nuanced revenge trip than \u003cem>Death Wish\u003c/em>, its more famous antecedent, imagines an integrated group of working-class buddies (including Fred “The Hammer” Williamson and Robert Forster, whose performance here and elsewhere led Tarantino to cast him in \u003cem>Jackie Brown\u003c/em> 15 years later) exacting payback from the equally integrated band of lowlife scum who carved up Forster’s wife and blew away his young son. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lustig’s film school was the set — he learned on the job, like Dennis Hopper, Jonathan Demme, John Carpenter and many other filmmakers — and it’s fun to spot the scenes and camera set-ups inspired by the films of his favorite directors, notably Italian horror-meister Dario Argento and spaghetti-western maestro Sergio Leone.\u003c/p>\n\u003cfigure id=\"attachment_10140456\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\" alt=\"Vigilante poster -- in French.\" width=\"580\" height=\"861\" class=\"size-full wp-image-10140456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-202x300.jpg 202w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Vigilante\u003c/i> poster — in French.\u003c/figcaption>\u003c/figure>\n\u003cp>Another unpretentious honest-man-fighting-back saga, \u003cem>Hit List\u003c/em> (1989), caps the Friday triple bill, followed by Saturday’s marathon dive into the deranged \u003cem>Maniac Cop\u003c/em> trilogy (1988-93). In the great tradition of giving the people what they want — especially if the people were slouched in the Strand and similarly dilapidated and borderline dangerous downtown theaters during the Reagan-Bush years — Lustig and screenwriter Larry Cohen serve up a steady stream of stabbings, strippers, chase scenes, beatings and flame-filled explosions with a minimum of social commentary.\u003c/p>\n\u003cp>While Lustig’s characters are one-dimensional and the dialogue isn’t exactly quotable, the plots treat an absurd premise with fidelity to street-level realism. I’m not going to make any hyperbolic claims for his status as an artist, and I doubt he will, either, in what are sure to be amusing and insightful Q-and-As. But Lustig was anything but a lazy hack, which cannot be said of every Hollywood director, and he compensated for minimal budgets and tight production schedules with an imaginative use of sound, lighting and shadow.\u003c/p>\n\u003cfigure id=\"attachment_10140461\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\" alt=\"Maniac Cop 2 poster\" width=\"580\" height=\"888\" class=\"size-full wp-image-10140461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-400x612.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-195x300.jpg 195w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Maniac Cop 2\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Lustig’s films are distinguished, if I can use such a fancy word, by a blend of earnestness (he and his actors take the audience, and the mandate of entertaining them, very seriously) and unpretentiousness that’s disarming and even endearing. The tongue-in-cheek “Maniac Cop Rap,” that plays under the end credits of \u003cem>Maniac Cop 2\u003c/em> is a particularly nice touch.\u003c/p>\n\u003cp>His movies have a personality and an eccentricity that elevates them above most of the anonymous, interchangeable product cranked through the grindhouses and drive-ins back in the day. Bill Lustig was never cynical about the fundamental allure of movies: excitement, entertainment and escapism. If you aren’t jaded, or even if you are, you’re bound to get a jolt of energy hanging out with him at YBCA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Tribute Retrospective to the Exploitation of William Lustig\u003c/em> screens Friday and Saturday, August 15-16, 2014 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tribute-to-william-lustig\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tension between low and high culture has been a part of the movies for a century, since the first seers and poets introduced artistic elements to a populist medium. But most distinctions eroded pretty completely by the ‘90s, when a serial-killer movie won the Best Picture Oscar (\u003cem>The Silence of the Lambs\u003c/em>, 1991) and a stylized crime yarn (\u003cem>Pulp Fiction\u003c/em>, 1994) won the top prize at Cannes \u003cem>and\u003c/em> grossed $100 million at the U.S. box office.\u003c/p>\n\u003cp>The upshot is there’s no such thing as a guilty pleasure anymore. We can freely enjoy the base pleasures of genre films, and revel in Academy Award-winners playing superheroes in comic-book movies. Even our hallowed havens of \u003ci>cin-e-mah\u003c/i>, such as the Pacific Film Archive, long ago embraced the “lower depths,” from ‘80s Hong Kong action flicks to William Castle’s cheesy chillers of the ‘50s and ‘60s to Seijun Suzuki’s baroque ‘60s gangster movies.\u003c/p>\n\u003cp>The film program at Yerba Buena Center For the Arts typically edges even further out on the fringes, showcasing internationally celebrated but non-commercial auteurs such as Apichatpong “Joe” Weerasethakul alongside sexploitation pioneers like Doris Wishman. Now comes \u003cb>A Tribute Retrospective to the Exploitation of William Lustig\u003c/b>, the weekend-long centerpiece of \u003cb>Bay Area Now 7: Invasion of the Cinemaniacs!\u003c/b>, an eclectic survey of the \u003cem>outré\u003c/em> tastes of a host of devoted Bay Area film buffs and programmers. The man responsible for bringing Lustig to town is Jesse Hawthorne Ficks, the ardent force of nature behind the \u003cb>Midnites for Maniacs\u003c/b> shows at the Castro and a teacher at Academy of Art College (where he inculcates impressionable minds in the sociological value of disposable genre movies).\u003c/p>\n\u003cfigure id=\"attachment_10140463\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\" alt=\"1980 Maniac poster\" width=\"580\" height=\"850\" class=\"size-full wp-image-10140463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-400x586.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-204x300.jpg 204w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1980 \u003ci>Maniac\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>William Lustig flat-out loves movies, watching ‘em and making ‘em, and seems to savor the problem-solving aspect of low-budget, independent movie-making as much as the creative challenge. The Bronx native scored his first grindhouse hit with \u003cem>Maniac\u003c/em> (1980), the grisly tale of a serial murderer who terrorizes the pretty women of on-the-skids New York that opens the no-frills series Fri., Aug. 15 at 7pm in an unrated director’s cut.\u003c/p>\n\u003cp>His follow-up, \u003cem>Vigilante\u003c/em> (1983), a more nuanced revenge trip than \u003cem>Death Wish\u003c/em>, its more famous antecedent, imagines an integrated group of working-class buddies (including Fred “The Hammer” Williamson and Robert Forster, whose performance here and elsewhere led Tarantino to cast him in \u003cem>Jackie Brown\u003c/em> 15 years later) exacting payback from the equally integrated band of lowlife scum who carved up Forster’s wife and blew away his young son. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lustig’s film school was the set — he learned on the job, like Dennis Hopper, Jonathan Demme, John Carpenter and many other filmmakers — and it’s fun to spot the scenes and camera set-ups inspired by the films of his favorite directors, notably Italian horror-meister Dario Argento and spaghetti-western maestro Sergio Leone.\u003c/p>\n\u003cfigure id=\"attachment_10140456\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\" alt=\"Vigilante poster -- in French.\" width=\"580\" height=\"861\" class=\"size-full wp-image-10140456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-202x300.jpg 202w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Vigilante\u003c/i> poster — in French.\u003c/figcaption>\u003c/figure>\n\u003cp>Another unpretentious honest-man-fighting-back saga, \u003cem>Hit List\u003c/em> (1989), caps the Friday triple bill, followed by Saturday’s marathon dive into the deranged \u003cem>Maniac Cop\u003c/em> trilogy (1988-93). In the great tradition of giving the people what they want — especially if the people were slouched in the Strand and similarly dilapidated and borderline dangerous downtown theaters during the Reagan-Bush years — Lustig and screenwriter Larry Cohen serve up a steady stream of stabbings, strippers, chase scenes, beatings and flame-filled explosions with a minimum of social commentary.\u003c/p>\n\u003cp>While Lustig’s characters are one-dimensional and the dialogue isn’t exactly quotable, the plots treat an absurd premise with fidelity to street-level realism. I’m not going to make any hyperbolic claims for his status as an artist, and I doubt he will, either, in what are sure to be amusing and insightful Q-and-As. But Lustig was anything but a lazy hack, which cannot be said of every Hollywood director, and he compensated for minimal budgets and tight production schedules with an imaginative use of sound, lighting and shadow.\u003c/p>\n\u003cfigure id=\"attachment_10140461\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\" alt=\"Maniac Cop 2 poster\" width=\"580\" height=\"888\" class=\"size-full wp-image-10140461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-400x612.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-195x300.jpg 195w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Maniac Cop 2\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Lustig’s films are distinguished, if I can use such a fancy word, by a blend of earnestness (he and his actors take the audience, and the mandate of entertaining them, very seriously) and unpretentiousness that’s disarming and even endearing. The tongue-in-cheek “Maniac Cop Rap,” that plays under the end credits of \u003cem>Maniac Cop 2\u003c/em> is a particularly nice touch.\u003c/p>\n\u003cp>His movies have a personality and an eccentricity that elevates them above most of the anonymous, interchangeable product cranked through the grindhouses and drive-ins back in the day. Bill Lustig was never cynical about the fundamental allure of movies: excitement, entertainment and escapism. If you aren’t jaded, or even if you are, you’re bound to get a jolt of energy hanging out with him at YBCA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Tribute Retrospective to the Exploitation of William Lustig\u003c/em> screens Friday and Saturday, August 15-16, 2014 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tribute-to-william-lustig\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Lauren Bacall, Hollywood and Broadway Legend, Dead at 89",
"title": "Lauren Bacall, Hollywood and Broadway Legend, Dead at 89",
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"content": "\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13102\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/lauren-bacall.jpg\" alt=\"lauren-bacall\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/lauren-bacall.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/lauren-bacall-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Just a day after \u003ca href=\"http://blogs.kqed.org/pop/2014/08/11/robin-williams-beloved-comedian-and-bay-area-resident-dead-at-63/\">the loss of one of the world's funniest actors\u003c/a>, the legendary Lauren Bacall has \u003ca href=\"http://www.vanityfair.com/vf-hollywood/2014/08/lauren-bacall-dies-age-89\">passed away at the age of 89\u003c/a> of a stroke. She burst onto the scene in 1944 with \u003cem>To Have and Have\u003c/em> \u003cem>Not\u003c/em>, matching Humphrey Bogart's star power with her husky voice and no-nonsense attitude. They would later marry and star in a string of noir classics (\u003cem>The Big Sleep\u003c/em>, \u003cem>Dark Passage\u003c/em> and \u003cem>Key Largo\u003c/em>). But her creative and personal collaborations with Bogart aren't the full story. \"\u003cspan style=\"color: #111111\">The only thing that I am not pleased about is when people only talk about 'Bogie' to me as though I had no other life at all,\" she said on NPR's \u003cem>Morning Edition\u003c/em> in 2005, \"when I had, unfortunately, many, many more years without him than I did with him.\" \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #111111\">Bacall went on to juggle being a single mother with being a movie star and Broadway diva. \"\u003cspan style=\"color: #000000\">I remember my oldest son, Steve, saying to me once, 'I don't ever remember seeing you with an apron on.' And I thought, that's right, honey, you did not. That was his concept of what a mother should be.\" \u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #111111\">\u003cspan style=\"color: #000000\">60 years after her screen debut, she was still taking names in films like Lars von Trier’s \u003cem>Dogville \u003c/em>and Jonathan Glazer’s\u003cem> \u003cem>Birth. \u003c/em>\u003c/em>And she worked right until the very end. \"What is the point of working all your life and then stopping?\"\u003c/span>\u003c/span>\u003c/p>\n\u003cp>http://youtu.be/MheNUWyROv8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13102\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/lauren-bacall.jpg\" alt=\"lauren-bacall\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/lauren-bacall.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/lauren-bacall-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Just a day after \u003ca href=\"http://blogs.kqed.org/pop/2014/08/11/robin-williams-beloved-comedian-and-bay-area-resident-dead-at-63/\">the loss of one of the world's funniest actors\u003c/a>, the legendary Lauren Bacall has \u003ca href=\"http://www.vanityfair.com/vf-hollywood/2014/08/lauren-bacall-dies-age-89\">passed away at the age of 89\u003c/a> of a stroke. She burst onto the scene in 1944 with \u003cem>To Have and Have\u003c/em> \u003cem>Not\u003c/em>, matching Humphrey Bogart's star power with her husky voice and no-nonsense attitude. They would later marry and star in a string of noir classics (\u003cem>The Big Sleep\u003c/em>, \u003cem>Dark Passage\u003c/em> and \u003cem>Key Largo\u003c/em>). But her creative and personal collaborations with Bogart aren't the full story. \"\u003cspan style=\"color: #111111\">The only thing that I am not pleased about is when people only talk about 'Bogie' to me as though I had no other life at all,\" she said on NPR's \u003cem>Morning Edition\u003c/em> in 2005, \"when I had, unfortunately, many, many more years without him than I did with him.\" \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #111111\">Bacall went on to juggle being a single mother with being a movie star and Broadway diva. \"\u003cspan style=\"color: #000000\">I remember my oldest son, Steve, saying to me once, 'I don't ever remember seeing you with an apron on.' And I thought, that's right, honey, you did not. That was his concept of what a mother should be.\" \u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"color: #111111\">\u003cspan style=\"color: #000000\">60 years after her screen debut, she was still taking names in films like Lars von Trier’s \u003cem>Dogville \u003c/em>and Jonathan Glazer’s\u003cem> \u003cem>Birth. \u003c/em>\u003c/em>And she worked right until the very end. \"What is the point of working all your life and then stopping?\"\u003c/span>\u003c/span>\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/MheNUWyROv8'\n title='//www.youtube.com/embed/MheNUWyROv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I didn’t expect Robin Williams’ death to hit me as hard as it did. When it was reported this afternoon that the actor and comedian had been found dead at 63 in his Tiburon home, a suspected suicide, the loss felt profoundly personal in a way that was strange given that he was someone I’d never met. It had been years since I’d followed Williams’ career closely. I was dimly aware that he’d been starring in a television show with Sarah Michelle Gellar, \u003cem>The Crazy Ones\u003c/em>, which CBS canceled after one season, but I hadn’t seen it. He’d been popping up in movies regularly in recent years, but the last things I’d actually seen him in were his 2002 one-two punch of dramatic roles in \u003cem>One Hour Photo\u003c/em> and \u003cem>Insomnia\u003c/em>.\u003c/p>\n\u003cp>But when I was a kid, Robin Williams was my hero, easily one of the greatest influences of my childhood. I never wanted to be a comedian myself (at least not that I can recall), but I was a big fan of comedy — and of his comedy in particular.\u003c/p>\n\u003cp>Like most kids of my generation, I first knew him as the sitcom space alien Mork from Ork, not just on \u003cem>Mork and Mindy\u003c/em> but the strange guest appearance on \u003cem>Happy Days\u003c/em> that introduced the character. When I was in fourth grade circa 1980, going to public school in Oakland, I happened across an interview with him in one of those gaudy fanzines for kids, \u003cem>Popcorn\u003c/em> or \u003cem>Bananas\u003c/em>, in which he revealed that other kids used to pick on him at school until he learned to make them laugh.\u003c/p>\n\u003cp>Now, as it happened, I was getting beat up a lot at the time, so this made a huge impression on me. I tried to be funny. Honestly, I did. I’d talk to my milk, dance with mops, introduce people to my invisible friend, dangle from third-story railings. But grade schoolers lack a fine appreciation for the absurd. After that I wasn’t getting picked on just because I was shy and awkward, but because I was a weirdo.\u003c/p>\n\u003cp>However dodgy my experience with taking his advice turned out to be, that didn’t sour me on Robin Williams. Far from it. When the movie \u003cem>Popeye\u003c/em> came out, I stuck around in the Grand Lake Theatre and watched it three times in a row (partly because the clowns I loved from the Pickle Family Circus were in it — Bill Irwin, Geoff Hoyle and Larry Pisoni). I practically wore out my LPs of his standup-comedy albums \u003cem>Reality…What a Concept\u003c/em> (1979) and \u003cem>Throbbing Python of Love\u003c/em> (1983), listening to them over and over until I’d memorized them (not intentionally, just inevitably). In fifth grade my friends and I would sit around at recess reciting his routines to each other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back when Whoopi Goldberg was still living in Berkeley in the early 1980s — before her big break in \u003cem>The Color Purple\u003c/em> — I remember going to a big party at her house and finding out that Robin Williams had showed up right after my dad and I had left. So my sister got to hang out with my hero and I didn’t; and boy did she enjoy telling me that. \u003c/p>\n\u003cp>As I grew older, I gradually stopped seeing movies just because Robin Williams was in them, but I continued to get a warm feeling every time I saw him. I didn’t care much for the sentimental \u003cem>Patch Adams\u003c/em>-type roles that were a growing part of his oeuvre, but I was always a fan of his knack for over-the-top extemporaneous comedy and his chilling ability to go dark on occasion when cast against type in dramas and thrillers. And even though I never once ran into him in all the decades that we both lived in the Bay Area, I always loved hearing that Williams had dropped in at this or that local venue to do a surprise set or just to support a friend. And though it would have been great, I never once kicked myself for missing any of those appearances. I just liked knowing he was around. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s what hits me so hard — and what I suspect will be hitting a lot of us in the coming days: the sudden shock of knowing that none of us will be running into Robin Williams anymore.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I didn’t expect Robin Williams’ death to hit me as hard as it did. When it was reported this afternoon that the actor and comedian had been found dead at 63 in his Tiburon home, a suspected suicide, the loss felt profoundly personal in a way that was strange given that he was someone I’d never met. It had been years since I’d followed Williams’ career closely. I was dimly aware that he’d been starring in a television show with Sarah Michelle Gellar, \u003cem>The Crazy Ones\u003c/em>, which CBS canceled after one season, but I hadn’t seen it. He’d been popping up in movies regularly in recent years, but the last things I’d actually seen him in were his 2002 one-two punch of dramatic roles in \u003cem>One Hour Photo\u003c/em> and \u003cem>Insomnia\u003c/em>.\u003c/p>\n\u003cp>But when I was a kid, Robin Williams was my hero, easily one of the greatest influences of my childhood. I never wanted to be a comedian myself (at least not that I can recall), but I was a big fan of comedy — and of his comedy in particular.\u003c/p>\n\u003cp>Like most kids of my generation, I first knew him as the sitcom space alien Mork from Ork, not just on \u003cem>Mork and Mindy\u003c/em> but the strange guest appearance on \u003cem>Happy Days\u003c/em> that introduced the character. When I was in fourth grade circa 1980, going to public school in Oakland, I happened across an interview with him in one of those gaudy fanzines for kids, \u003cem>Popcorn\u003c/em> or \u003cem>Bananas\u003c/em>, in which he revealed that other kids used to pick on him at school until he learned to make them laugh.\u003c/p>\n\u003cp>Now, as it happened, I was getting beat up a lot at the time, so this made a huge impression on me. I tried to be funny. Honestly, I did. I’d talk to my milk, dance with mops, introduce people to my invisible friend, dangle from third-story railings. But grade schoolers lack a fine appreciation for the absurd. After that I wasn’t getting picked on just because I was shy and awkward, but because I was a weirdo.\u003c/p>\n\u003cp>However dodgy my experience with taking his advice turned out to be, that didn’t sour me on Robin Williams. Far from it. When the movie \u003cem>Popeye\u003c/em> came out, I stuck around in the Grand Lake Theatre and watched it three times in a row (partly because the clowns I loved from the Pickle Family Circus were in it — Bill Irwin, Geoff Hoyle and Larry Pisoni). I practically wore out my LPs of his standup-comedy albums \u003cem>Reality…What a Concept\u003c/em> (1979) and \u003cem>Throbbing Python of Love\u003c/em> (1983), listening to them over and over until I’d memorized them (not intentionally, just inevitably). In fifth grade my friends and I would sit around at recess reciting his routines to each other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back when Whoopi Goldberg was still living in Berkeley in the early 1980s — before her big break in \u003cem>The Color Purple\u003c/em> — I remember going to a big party at her house and finding out that Robin Williams had showed up right after my dad and I had left. So my sister got to hang out with my hero and I didn’t; and boy did she enjoy telling me that. \u003c/p>\n\u003cp>As I grew older, I gradually stopped seeing movies just because Robin Williams was in them, but I continued to get a warm feeling every time I saw him. I didn’t care much for the sentimental \u003cem>Patch Adams\u003c/em>-type roles that were a growing part of his oeuvre, but I was always a fan of his knack for over-the-top extemporaneous comedy and his chilling ability to go dark on occasion when cast against type in dramas and thrillers. And even though I never once ran into him in all the decades that we both lived in the Bay Area, I always loved hearing that Williams had dropped in at this or that local venue to do a surprise set or just to support a friend. And though it would have been great, I never once kicked myself for missing any of those appearances. I just liked knowing he was around. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And that’s what hits me so hard — and what I suspect will be hitting a lot of us in the coming days: the sudden shock of knowing that none of us will be running into Robin Williams anymore.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13096\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/robin.jpg\" alt=\"robin williams\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/robin.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/robin-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Devastating news from \u003ca href=\"http://www.marinsheriff.org/uploads/854.pdf\">the Marin County Sheriff\u003c/a>: Academy Award-winning actor, comedian and longtime Bay Area resident Robin Williams is dead at age 63. The actor, who publicly battled substance abuse issues and was recently admitted to a \"renewal center\" in an effort to maintain his sobriety, was found by members of his family this morning in his Tiburon home, the victim of an apparent suicide. Williams' publicist, Mara Buxbaum, confirmed the news and said the actor had recently been battling \"severe depression.\"\u003c/p>\n\u003cp>This is upsetting news for the generations of fans that loved, laughed and grew up with the star, as well as many Bay Area residents, who have proudly claimed Williams as an adoptive native son. From his early sitcom antics on his breakout hit \u003cem>Mork and Mindy\u003c/em> to the roles in films including \u003cem>Good Morning, Vietnam\u003c/em>, \u003cem>The Dead Poets Society\u003c/em> and \u003cem>Good Will Hunting,\u003c/em> San Franciscans have long had a sense of sharing the triumphs with the entertainer. The house that Williams' shared with his family for many years in the Sea Cliff district of San Francisco was famous to local children for its dinosaur topiary peaking above the garden wall like the playful friend we all imagined Robin Williams to be.\u003c/p>\n\u003cp>Williams' talent was truly multi-dimensional, from the lightning-fast comedy that propelled him to fame to the iconic San Francisco-set drag comedy \u003cem>Mrs. Doubtfire\u003c/em>, which remains a hallmark for millennials who saw the film as children. Where is Sean, Williams' unconventional therapist in \u003cem>Good Will Hunting,\u003c/em> who comforts a young Will? Where is his Tex Avery-witted Genie from \u003cem>Aladdin \u003c/em> to grant us a final wish? Or the loving gay father of \u003cem>The Birdcage\u003c/em> to help us \"keep it all inside?\" Where is our one last comforting whisper in Mrs. Doubtfire's gentle Scottish lilt?\u003c/p>\n\u003cp>http://youtu.be/KI2_bn89cow\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Romantic comedies didn’t always carry with them the air of immediate dismissal, that eye-rolling weariness born of dozens of interchangeable boy-meets-girl plots and posters featuring stars playfully leaning into or on one another. Romance at the movies wasn’t always overfilled with cliches, stuffed with safe jokes heard a hundred times before. The rom-com can be a place for actual characters instead of cardboard theater-lobby displays, right? People you actually want to see get together for reasons other than the fact that that’s what’s supposed to happen in these movies?\u003c/p>\n\u003cp>\u003cem>What If\u003c/em> doesn’t ask “what if” that were true. It just answers with a confident “yes.”\u003c/p>\n\u003cp>The film was originally titled \u003cem>The F Word,\u003c/em> and it still carries that title in most markets that aren’t the U.S., making one wonder just how easily offended the distributor thinks we are (the F-word in question is “friends”). Fortunately, the newer, blander title is really the only thing generic about \u003cem>What If\u003c/em>. Adapted and expanded by screenwriter Elan Mastai from a fringe festival play by Canadian playwrights TJ Dawe and Mike Rinaldi, the film manages a neat trick of sticking close to formula while still being unexpectedly fresh.\u003c/p>\n\u003cp>Part of that is just how self-aware Mastai’s script is, without really wandering into self-referential navel-gazing. Everything is familiar, but slightly off-kilter, like walking into your home to find all the furniture shifted a few inches from where it normally sits. Daniel Radcliffe plays Wallace, a med school dropout who meets Chantry (Zoe Kazan) at a party and falls for her quickly; only to find out after he walks her home that she lives with her boyfriend and is just looking for new friends, though the connection between them is undeniable.\u003c/p>\n\u003cp>It takes a long time to reveal that boyfriend, and when we do finally meet up with Ben (Rafe Spall), we’re treated to a quick moment of (not so) irrational jealousy before we discover that despite being the long-term boyfriend we’re supposed to be rooting against, he’s actually not really a bad guy. The film keeps teasing us with moments where it might make him into a cheater, a neglecter, a monster of some sort; and then director Michael Dowse refuses to let us off the hook. It has to be just as hard for us to hate Ben as it is for Chantry to throw him over for Wallace, no matter how charming he is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And he’s plenty charming, as is she, as we’re treated to their lengthy, quirky, noncourtship courtship through the streets and storefronts of Toronto. The two are almost impossibly cute together — setting their second meeting at a screening of \u003cem>The Princess Bride\u003c/em> basically puts their adorability factor off the charts. It might border on too twee for some, but Radcliffe and Kazan’s chemistry is too endearing to write off that easily, and the film cuts the sweetness by giving the pair a slightly gross shared sense of humor centered on discussions of peanut butter, jelly, and bacon sandwiches and celebrity feces. It still plays on the cuter side of disgusting, but just try to imagine, say, McConaughey and Parker having anything remotely like this banter in something like \u003cem>Failure to Launch\u003c/em>.\u003c/p>\n\u003cp>Wallace’s best friend (and Chantry’s cousin) Allan (Adam Driver, riffing effectively in the same awkward oddball territory as his role on \u003cem>Girls\u003c/em>) also provides alternate programming for those averse to the gentler interactions of the central pair. At the same party where those two meet-cute, Allan has more of a meet-carnal with Nicole (Mackenzie Davis), and their horny romance hilariously provides the sexual spark that Wallace and Chantry’s can’t have. But their love is also genuine, giving their characters a depth that goes beyond silly (but great) jokes like Allan’s overriding love of post-intercourse nachos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>What If\u003c/em> doesn’t escape common tropes — tragicomic misunderstandings getting in the way, a poignant wedding sequence, grand romantic gestures gone both right and wrong — but it also isn’t really trying to get away from them. The film recognizes and sticks close to the comforting romantic comedy blueprint while remaining aware that the best romantic comedies have their own personalities. The resulting movie gives us what we need from a romantic comedy instead of what the averaged opinions of a focus group might claim we want from one. \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=%27What+If%27+Brings+Flair+And+Fun+To+The+Rom-Com+Formula&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Romantic comedies didn’t always carry with them the air of immediate dismissal, that eye-rolling weariness born of dozens of interchangeable boy-meets-girl plots and posters featuring stars playfully leaning into or on one another. Romance at the movies wasn’t always overfilled with cliches, stuffed with safe jokes heard a hundred times before. The rom-com can be a place for actual characters instead of cardboard theater-lobby displays, right? People you actually want to see get together for reasons other than the fact that that’s what’s supposed to happen in these movies?\u003c/p>\n\u003cp>\u003cem>What If\u003c/em> doesn’t ask “what if” that were true. It just answers with a confident “yes.”\u003c/p>\n\u003cp>The film was originally titled \u003cem>The F Word,\u003c/em> and it still carries that title in most markets that aren’t the U.S., making one wonder just how easily offended the distributor thinks we are (the F-word in question is “friends”). Fortunately, the newer, blander title is really the only thing generic about \u003cem>What If\u003c/em>. Adapted and expanded by screenwriter Elan Mastai from a fringe festival play by Canadian playwrights TJ Dawe and Mike Rinaldi, the film manages a neat trick of sticking close to formula while still being unexpectedly fresh.\u003c/p>\n\u003cp>Part of that is just how self-aware Mastai’s script is, without really wandering into self-referential navel-gazing. Everything is familiar, but slightly off-kilter, like walking into your home to find all the furniture shifted a few inches from where it normally sits. Daniel Radcliffe plays Wallace, a med school dropout who meets Chantry (Zoe Kazan) at a party and falls for her quickly; only to find out after he walks her home that she lives with her boyfriend and is just looking for new friends, though the connection between them is undeniable.\u003c/p>\n\u003cp>It takes a long time to reveal that boyfriend, and when we do finally meet up with Ben (Rafe Spall), we’re treated to a quick moment of (not so) irrational jealousy before we discover that despite being the long-term boyfriend we’re supposed to be rooting against, he’s actually not really a bad guy. The film keeps teasing us with moments where it might make him into a cheater, a neglecter, a monster of some sort; and then director Michael Dowse refuses to let us off the hook. It has to be just as hard for us to hate Ben as it is for Chantry to throw him over for Wallace, no matter how charming he is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he’s plenty charming, as is she, as we’re treated to their lengthy, quirky, noncourtship courtship through the streets and storefronts of Toronto. The two are almost impossibly cute together — setting their second meeting at a screening of \u003cem>The Princess Bride\u003c/em> basically puts their adorability factor off the charts. It might border on too twee for some, but Radcliffe and Kazan’s chemistry is too endearing to write off that easily, and the film cuts the sweetness by giving the pair a slightly gross shared sense of humor centered on discussions of peanut butter, jelly, and bacon sandwiches and celebrity feces. It still plays on the cuter side of disgusting, but just try to imagine, say, McConaughey and Parker having anything remotely like this banter in something like \u003cem>Failure to Launch\u003c/em>.\u003c/p>\n\u003cp>Wallace’s best friend (and Chantry’s cousin) Allan (Adam Driver, riffing effectively in the same awkward oddball territory as his role on \u003cem>Girls\u003c/em>) also provides alternate programming for those averse to the gentler interactions of the central pair. At the same party where those two meet-cute, Allan has more of a meet-carnal with Nicole (Mackenzie Davis), and their horny romance hilariously provides the sexual spark that Wallace and Chantry’s can’t have. But their love is also genuine, giving their characters a depth that goes beyond silly (but great) jokes like Allan’s overriding love of post-intercourse nachos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>What If\u003c/em> doesn’t escape common tropes — tragicomic misunderstandings getting in the way, a poignant wedding sequence, grand romantic gestures gone both right and wrong — but it also isn’t really trying to get away from them. The film recognizes and sticks close to the comforting romantic comedy blueprint while remaining aware that the best romantic comedies have their own personalities. The resulting movie gives us what we need from a romantic comedy instead of what the averaged opinions of a focus group might claim we want from one. \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=%27What+If%27+Brings+Flair+And+Fun+To+The+Rom-Com+Formula&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jonathan Liebesman’s \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, a reboot of the franchise following three live-action movies from the ’90s and 2007’s computer-animated \u003cem>TMNT\u003c/em>, courted controversy in 2012 when the film’s producer, Michael Bay, announced the title of the film would be reduced to the simpler \u003cem>Ninja Turtles\u003c/em>. Much of the ensuing criticism became part of a wider denunciation of another comment by Bay indicating that Liebesman’s turtles would be members of an alien race rather than unnaturally evolved reptiles.\u003c/p>\n\u003cp>The less remarked upon but equally disastrous possibility, though, was losing the “teenage” element. According to a \u003ca href=\"http://mentalfloss.com/article/30862/complete-history-teenage-mutant-ninja-turtles\" target=\"_blank\" rel=\"noopener\">recent history\u003c/a> of the Ninja Turtles published by \u003cem>Mental Floss\u003c/em>, series creators Peter Laird and Kevin Eastman originally imagined\u003cem> \u003c/em>their heroes as fearsome and violent. But the Ninja Turtles in popular culture have always tended toward the goofy, unfocused and juvenile. The ’90s films, hardly masterpieces, are at least unabashedly childish. The original 1990 film featured not only teenage turtles, after all; it also populated the villainous Foot Clan, also the enemy in Liebesman’s movie, with delinquent, runaway youth.\u003c/p>\n\u003cp>The new \u003cem>Teenage Mutant Ninja Turtles\u003c/em> is removed from such a youth-oriented universe. Liebesman and Bay ultimately dropped the truncated title and the more radical plot changes, but the resulting film still reflects a shift from the first films\u003cstrong>.\u003c/strong> Its origin story, while not launched into outer space, has been recast to fit a familiar world domination plot. Michelangelo (Noel Fisher), Donatello (Jeremy Howard), Leonardo (played by Pete Ploszek and voiced by Johnny Knoxville), Raphael (Alan Ritchson), and their rat sensei Splinter (Danny Woodburn, voiced by Tony Shalhoub) are now the products of experiments carried out by Eric Sacks (William Fichtner) and Dr. O’Neil (Paul Fitzgerald) in order to create a mutagen that would heal humans’ injuries and cure diseases. Of course, by the time the story really kicks off,\u003cem> \u003c/em>the mutagen’s positive properties are being used for more nefarious purposes.\u003c/p>\n\u003cp>\u003cem>Teenage Mutant Ninja Turtles\u003c/em> takes place decades after the experiments, with Dr. O’Neil dead from a fire at Sacks’ laboratories and survived by his daughter, April (Megan Fox), a budding journalist tracking the story of the Foot Clan that is tormenting New York City. It’s April who first catches sight of the Turtles when they repel a Clan attack, ultimately realizing that they are the same turtles and rat that she saved from her father’s lab years ago.\u003c/p>\n\u003cp>I’m hesitant to subscribe to any notion of origin stories as sacrosanct, particularly since \u003cem>Ninja Turtles \u003c/em>is an uninspired but not offensively bad film. The changes, though, do remove one of the more charming elements of the Turtles, at least as they appeared in the original movies. The Turtles have always been urban vigilantes, but when their mutation was a result of bathing in a pool of discarded radioactive ooze they also tapped into an essential aspect of city life: the filthiness. Emerging from the sewers, the Turtles were products of urban waste disposed with little worry of its consequences. Now they’re just another science experiment gone wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Liebesman’s rebranding also shifts the franchise into a slightly more serious register: the Foot Clan are now a well-armed militia, with their leader, Shredder (Tohoru Masamune), resembling a cross between Darth Vader and a Swiss-Army-knife-inspired Transformer. The stakes are impossibly high (“the entire course of human history depends on it,” says Sacks at one point in reference to the mutagen) and the Turtles have turned from pizza-obsessed surfer-types who speak of “dudes and dudettes” to steroid-pumped bros: from stoners to the kind of turtles you might expect to find at a Skrillex concert.\u003c/p>\n\u003cp>This doesn’t mean the Turtles have gone full Dark Knight. Stupid remarks about cat videos courtesy of Michelangelo and a random sing-along are just some of the token reminders of the Turtles of old. There’s also one scene focused on pizza and the obligatory, but heavily restrained, use of the word “cowabunga.” None of these elements is a defining characteristic anymore, though. They’re just traits that Liebesman and the film’s trio of writers (Josh Appelbaum, André Nemec and Evan Daugherty) were loath to completely remove from the script, but which, as employed here, bear little of their original appeal.\u003c/p>\n\u003cp>That leaves the film resting not quite at dark and brooding but having strayed too far from foolish fun. Ultimately, there’s a generic blandness to this incarnation of the Ninja Turtles, a derivative quality that the film’s self-aware pop culture references (one Turtle’s gruff voice is described as “his Batman voice”) only underline. The positive aspects of the movie are only those where less forgivable mistakes were avoided.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Compared to other bloated action movies, Liebesman keeps things going at a relatively quick pace. And even while deploying adrenaline-pumped cinematography, with a hyperkinetic camera continuously zooming, retreating, and spinning in circles, he doesn’t let scenes devolve into incoherence. There’s no lack of craft here, but there’s certainly an absence of character. \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=Old+Shells%2C+New+%27Turtles%27%3A+Tinkering+With+The+Insides+Of+A+Famous+Franchise&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jonathan Liebesman’s \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, a reboot of the franchise following three live-action movies from the ’90s and 2007’s computer-animated \u003cem>TMNT\u003c/em>, courted controversy in 2012 when the film’s producer, Michael Bay, announced the title of the film would be reduced to the simpler \u003cem>Ninja Turtles\u003c/em>. Much of the ensuing criticism became part of a wider denunciation of another comment by Bay indicating that Liebesman’s turtles would be members of an alien race rather than unnaturally evolved reptiles.\u003c/p>\n\u003cp>The less remarked upon but equally disastrous possibility, though, was losing the “teenage” element. According to a \u003ca href=\"http://mentalfloss.com/article/30862/complete-history-teenage-mutant-ninja-turtles\" target=\"_blank\" rel=\"noopener\">recent history\u003c/a> of the Ninja Turtles published by \u003cem>Mental Floss\u003c/em>, series creators Peter Laird and Kevin Eastman originally imagined\u003cem> \u003c/em>their heroes as fearsome and violent. But the Ninja Turtles in popular culture have always tended toward the goofy, unfocused and juvenile. The ’90s films, hardly masterpieces, are at least unabashedly childish. The original 1990 film featured not only teenage turtles, after all; it also populated the villainous Foot Clan, also the enemy in Liebesman’s movie, with delinquent, runaway youth.\u003c/p>\n\u003cp>The new \u003cem>Teenage Mutant Ninja Turtles\u003c/em> is removed from such a youth-oriented universe. Liebesman and Bay ultimately dropped the truncated title and the more radical plot changes, but the resulting film still reflects a shift from the first films\u003cstrong>.\u003c/strong> Its origin story, while not launched into outer space, has been recast to fit a familiar world domination plot. Michelangelo (Noel Fisher), Donatello (Jeremy Howard), Leonardo (played by Pete Ploszek and voiced by Johnny Knoxville), Raphael (Alan Ritchson), and their rat sensei Splinter (Danny Woodburn, voiced by Tony Shalhoub) are now the products of experiments carried out by Eric Sacks (William Fichtner) and Dr. O’Neil (Paul Fitzgerald) in order to create a mutagen that would heal humans’ injuries and cure diseases. Of course, by the time the story really kicks off,\u003cem> \u003c/em>the mutagen’s positive properties are being used for more nefarious purposes.\u003c/p>\n\u003cp>\u003cem>Teenage Mutant Ninja Turtles\u003c/em> takes place decades after the experiments, with Dr. O’Neil dead from a fire at Sacks’ laboratories and survived by his daughter, April (Megan Fox), a budding journalist tracking the story of the Foot Clan that is tormenting New York City. It’s April who first catches sight of the Turtles when they repel a Clan attack, ultimately realizing that they are the same turtles and rat that she saved from her father’s lab years ago.\u003c/p>\n\u003cp>I’m hesitant to subscribe to any notion of origin stories as sacrosanct, particularly since \u003cem>Ninja Turtles \u003c/em>is an uninspired but not offensively bad film. The changes, though, do remove one of the more charming elements of the Turtles, at least as they appeared in the original movies. The Turtles have always been urban vigilantes, but when their mutation was a result of bathing in a pool of discarded radioactive ooze they also tapped into an essential aspect of city life: the filthiness. Emerging from the sewers, the Turtles were products of urban waste disposed with little worry of its consequences. Now they’re just another science experiment gone wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Liebesman’s rebranding also shifts the franchise into a slightly more serious register: the Foot Clan are now a well-armed militia, with their leader, Shredder (Tohoru Masamune), resembling a cross between Darth Vader and a Swiss-Army-knife-inspired Transformer. The stakes are impossibly high (“the entire course of human history depends on it,” says Sacks at one point in reference to the mutagen) and the Turtles have turned from pizza-obsessed surfer-types who speak of “dudes and dudettes” to steroid-pumped bros: from stoners to the kind of turtles you might expect to find at a Skrillex concert.\u003c/p>\n\u003cp>This doesn’t mean the Turtles have gone full Dark Knight. Stupid remarks about cat videos courtesy of Michelangelo and a random sing-along are just some of the token reminders of the Turtles of old. There’s also one scene focused on pizza and the obligatory, but heavily restrained, use of the word “cowabunga.” None of these elements is a defining characteristic anymore, though. They’re just traits that Liebesman and the film’s trio of writers (Josh Appelbaum, André Nemec and Evan Daugherty) were loath to completely remove from the script, but which, as employed here, bear little of their original appeal.\u003c/p>\n\u003cp>That leaves the film resting not quite at dark and brooding but having strayed too far from foolish fun. Ultimately, there’s a generic blandness to this incarnation of the Ninja Turtles, a derivative quality that the film’s self-aware pop culture references (one Turtle’s gruff voice is described as “his Batman voice”) only underline. The positive aspects of the movie are only those where less forgivable mistakes were avoided.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Compared to other bloated action movies, Liebesman keeps things going at a relatively quick pace. And even while deploying adrenaline-pumped cinematography, with a hyperkinetic camera continuously zooming, retreating, and spinning in circles, he doesn’t let scenes devolve into incoherence. There’s no lack of craft here, but there’s certainly an absence of character. \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=Old+Shells%2C+New+%27Turtles%27%3A+Tinkering+With+The+Insides+Of+A+Famous+Franchise&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "When All Your Steaks Have Hot Sauce: A Case Against 'Nebraska' in Color",
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"content": "\u003cp>The latest indignity seemingly imposed by commerce upon art is \u003ca href=\"http://blogs.indiewire.com/thompsononhollywood/color-version-of-nebraska-to-show-on-epix-that-alexander-payne-hoped-would-never-be-seen-20140805\" target=\"_blank\" rel=\"noopener\">the news\u003c/a> that the cable movie channel Epix would air, in addition to the original black-and-white version, a color version of Alexander Payne’s \u003cem>Nebraska\u003c/em>, which was nominated for Best Picture earlier this year and stars Bruce Dern and Will Forte as a father and son on a somewhat discursive road trip nominally aimed at retrieving a cash payout to which the father believes he’s entitled.\u003c/p>\n\u003cp>This is not a colorized version ginned up after the fact; \u003ca href=\"http://variety.com/2013/film/news/alexander-payne-hopes-no-one-ever-sees-nebraska-in-color-1200861306/\" target=\"_blank\" rel=\"noopener\">it’s existed all along\u003c/a> as a contractual necessity facilitated by digital shooting, according to a \u003ca href=\"http://variety.com/2013/film/news/alexander-payne-hopes-no-one-ever-sees-nebraska-in-color-1200861306/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> interview\u003c/a> with Payne last fall, in which he openly hoped it would never be seen. There’s not necessarily anything \u003cem>wrong\u003c/em> with the color version of the film — it’s not the optimal way to appreciate what the director and the rest of the creative team were going for, but “suboptimal” doesn’t mean “terrible.” It’s hard to imagine why anyone other than perhaps those with challenges seeing black and white images would want to watch a movie in what its creator considers an inferior form when the superior form is equally convenient. But if that were all this story suggested, that might not be such a big deal.\u003c/p>\n\u003cp>The real threat of this kind of thing, though, might be the way that digital presentations of content in general make it a lot easier to deliver things in lots and lots of different ways. It’s good to have flexibility, but it also means there might be a point where it becomes almost impossible to make your vision available to people without agreeing in advance to make it customizable to the point where it ceases to be art at all. You can imagine a future in which films are released from the outset in PG and R versions, or in black-and-white and color versions, or in longer and shorter versions, or in versions with two different scores.\u003c/p>\n\u003cp>There’s something to be said for choosing your own adventure, as it were, but there’s also something to be said for leaving the creative decisions to the creator of the piece, and accepting that that surrender of control is part of immersing yourself in somebody else’s work.\u003c/p>\n\u003cp>An analogy: If you order a steak and you want hot sauce on it, I am the last person to say you can’t have hot sauce, but I also believe it might be to your benefit \u003cem>not \u003c/em>to demand hot sauce by default on every steak you ever eat. And I believe it is to your benefit — our benefit — that a restaurant focused on the creativity of chefs not announce on the menu, “Did you want hot sauce? Did you want an egg on top? Did you want a peanut butter sandwich instead?” It is one thing to grant special requests when you can; it is another to present the creative choice of a creative person as something to take or leave casually, according to what you think you already want.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If we are at a point where we cannot allow directorial choices to stand, even in films not intended to be \u003ca href=\"http://blogs.indiewire.com/shadowandact/inside-a-hollywood-studio-movie-marketers-playbook\" target=\"_blank\" rel=\"noopener\">four-quadrant blockbusters\u003c/a>, even with things that take up no more of our time, don’t require us to read subtitles, don’t make our lives harder, but simply \u003cem>feel\u003c/em> different — like black and white — then we are, in a word, hosed. And goosing people to consider a more familiar-feeling alternative instead of trusting them to deal with the piece as it was composed seems a bit cynical and sad.\u003c/p>\n\u003cp>That’s particularly true, and this is all particularly puzzling, since anyone not prepared to deal with a black and white film is going to have trouble with \u003cem>Nebraska\u003c/em> on many fronts. If a black and white movie makes you feel like you’re being forced to endure something inadequately modern, you’re not going to enjoy this particular film’s patient, contemplative tone anyway. Most people are not that afraid of black and white, in my experience, and addressing them as if they are has a whiff of condescension.\u003c/p>\n\u003cp>At its best, digital filmmaking makes it possible for directors to be more agile and mobile, to shoot more cheaply, and to try more things. But it also makes it easier to undo those choices, or re-present them to audiences like everything you ever see has to come with an on-screen menu.\u003c/p>\n\u003cp>There is a certain thrill to how helpless you are in a theater when it’s dark and you get the first flicker; there is always, for me, a moment in which I think, “Here we go.” Even now, even after all this time, “Here we go.” I’m happy to be a passenger. I’m happy not to be driving. I’m happy to be looking out the window. I don’t want to be offered black and white or color, classical or jazz, 120 minutes or 150. I want everybody sitting there to take the same ride, and when I’m at home, I may not be able to get the theater ride, but I certainly don’t want to be building the movie myself. That’s what the director is for.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Crowdsourcing is wonderful. Interactivity is wonderful. But I’m not looking for a line-item veto, and I’m not sure it’s beneficial to offer one. \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=When+All+Your+Steaks+Have+Hot+Sauce%3A+A+Case+Against+%27Nebraska%27+In+Color&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest indignity seemingly imposed by commerce upon art is \u003ca href=\"http://blogs.indiewire.com/thompsononhollywood/color-version-of-nebraska-to-show-on-epix-that-alexander-payne-hoped-would-never-be-seen-20140805\" target=\"_blank\" rel=\"noopener\">the news\u003c/a> that the cable movie channel Epix would air, in addition to the original black-and-white version, a color version of Alexander Payne’s \u003cem>Nebraska\u003c/em>, which was nominated for Best Picture earlier this year and stars Bruce Dern and Will Forte as a father and son on a somewhat discursive road trip nominally aimed at retrieving a cash payout to which the father believes he’s entitled.\u003c/p>\n\u003cp>This is not a colorized version ginned up after the fact; \u003ca href=\"http://variety.com/2013/film/news/alexander-payne-hopes-no-one-ever-sees-nebraska-in-color-1200861306/\" target=\"_blank\" rel=\"noopener\">it’s existed all along\u003c/a> as a contractual necessity facilitated by digital shooting, according to a \u003ca href=\"http://variety.com/2013/film/news/alexander-payne-hopes-no-one-ever-sees-nebraska-in-color-1200861306/\" target=\"_blank\" rel=\"noopener\">\u003cem>Variety\u003c/em> interview\u003c/a> with Payne last fall, in which he openly hoped it would never be seen. There’s not necessarily anything \u003cem>wrong\u003c/em> with the color version of the film — it’s not the optimal way to appreciate what the director and the rest of the creative team were going for, but “suboptimal” doesn’t mean “terrible.” It’s hard to imagine why anyone other than perhaps those with challenges seeing black and white images would want to watch a movie in what its creator considers an inferior form when the superior form is equally convenient. But if that were all this story suggested, that might not be such a big deal.\u003c/p>\n\u003cp>The real threat of this kind of thing, though, might be the way that digital presentations of content in general make it a lot easier to deliver things in lots and lots of different ways. It’s good to have flexibility, but it also means there might be a point where it becomes almost impossible to make your vision available to people without agreeing in advance to make it customizable to the point where it ceases to be art at all. You can imagine a future in which films are released from the outset in PG and R versions, or in black-and-white and color versions, or in longer and shorter versions, or in versions with two different scores.\u003c/p>\n\u003cp>There’s something to be said for choosing your own adventure, as it were, but there’s also something to be said for leaving the creative decisions to the creator of the piece, and accepting that that surrender of control is part of immersing yourself in somebody else’s work.\u003c/p>\n\u003cp>An analogy: If you order a steak and you want hot sauce on it, I am the last person to say you can’t have hot sauce, but I also believe it might be to your benefit \u003cem>not \u003c/em>to demand hot sauce by default on every steak you ever eat. And I believe it is to your benefit — our benefit — that a restaurant focused on the creativity of chefs not announce on the menu, “Did you want hot sauce? Did you want an egg on top? Did you want a peanut butter sandwich instead?” It is one thing to grant special requests when you can; it is another to present the creative choice of a creative person as something to take or leave casually, according to what you think you already want.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If we are at a point where we cannot allow directorial choices to stand, even in films not intended to be \u003ca href=\"http://blogs.indiewire.com/shadowandact/inside-a-hollywood-studio-movie-marketers-playbook\" target=\"_blank\" rel=\"noopener\">four-quadrant blockbusters\u003c/a>, even with things that take up no more of our time, don’t require us to read subtitles, don’t make our lives harder, but simply \u003cem>feel\u003c/em> different — like black and white — then we are, in a word, hosed. And goosing people to consider a more familiar-feeling alternative instead of trusting them to deal with the piece as it was composed seems a bit cynical and sad.\u003c/p>\n\u003cp>That’s particularly true, and this is all particularly puzzling, since anyone not prepared to deal with a black and white film is going to have trouble with \u003cem>Nebraska\u003c/em> on many fronts. If a black and white movie makes you feel like you’re being forced to endure something inadequately modern, you’re not going to enjoy this particular film’s patient, contemplative tone anyway. Most people are not that afraid of black and white, in my experience, and addressing them as if they are has a whiff of condescension.\u003c/p>\n\u003cp>At its best, digital filmmaking makes it possible for directors to be more agile and mobile, to shoot more cheaply, and to try more things. But it also makes it easier to undo those choices, or re-present them to audiences like everything you ever see has to come with an on-screen menu.\u003c/p>\n\u003cp>There is a certain thrill to how helpless you are in a theater when it’s dark and you get the first flicker; there is always, for me, a moment in which I think, “Here we go.” Even now, even after all this time, “Here we go.” I’m happy to be a passenger. I’m happy not to be driving. I’m happy to be looking out the window. I don’t want to be offered black and white or color, classical or jazz, 120 minutes or 150. I want everybody sitting there to take the same ride, and when I’m at home, I may not be able to get the theater ride, but I certainly don’t want to be building the movie myself. That’s what the director is for.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Crowdsourcing is wonderful. Interactivity is wonderful. But I’m not looking for a line-item veto, and I’m not sure it’s beneficial to offer one. \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=When+All+Your+Steaks+Have+Hot+Sauce%3A+A+Case+Against+%27Nebraska%27+In+Color&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Can San Francisco's Video Stores Be Saved?",
"headTitle": "Can San Francisco’s Video Stores Be Saved? | KQED",
"content": "\u003cp>You have to keep in mind just how few options there were back then. I’m talking pre-‘80s, before the VCR became the first in a long line of accessories to turn your TV into the culture’s central nervous system of escapism. You could go to retro houses or watch truncated old movies on television (interrupted by mood-shattering commercials). But those were essentially passive choices; you might find \u003cem>Citizen Kane\u003c/em>, or it might be \u003cem>Abbott and Costello Meet The Mummy\u003c/em>. You watched for a variety of reasons, one of them being “because it’s there.”\u003c/p>\n\u003cp>That is why I remember my first visit to a video store as a sort of cornucopian dream, a lavish spectacle that satisfied a deeply rooted desire. Dorothy’s first glimpse of Oz, exploding with color after a life of rural black and white. Or that famous \u003ci>Twilight Zone\u003c/i>, when the suicidal bookworm and lone survivor of a nuclear war otherwise known as Burgess Meredith \u003ca href=\"http://youtu.be/UAxARJyaTEA\" target=\"_blank\" rel=\"noopener\">happens upon the intact contents\u003c/a> of the New York Public Library.\u003c/p>\n\u003cp>http://youtu.be/x6D8PAGelN8\u003c/p>\n\u003cp>What’ll it be today? \u003cem>The Seventh Seal\u003c/em>, \u003cem>Bicycle Thieves\u003c/em>, \u003cem>8 1/2\u003c/em>? Or maybe something in a Renoir? And here’s \u003cem>Force of Evil\u003c/em>, that overlooked noir you’ve been dying to see.\u003c/p>\n\u003cp>Kid, meet candy store.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward (or drag your mental scroll bar) to the present, when the video store remains pleasingly but inefficiently concrete, a physical holdout in an age when websites and servers have made instant gratification of your visual narrative needs de rigueur. Once the stuff that dreams are made of, the video store is now the most endangered species in the present media ecosystem, a relic mostly fit for frequenting by grandparents and technophobes.\u003c/p>\n\u003cp>Or so the numbers say. Reading a \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">recent analysis of the industry\u003c/a> by business forecasting firm IBIS World is like looking over the last section of one of those obituaries news organizations prepare when someone is about to kick. The industry is in “the declining stage of its life cycle,” the report says. In 2005, nearly 23,000 video stores did business in the U.S. Today it’s 9,000, on the way to a predicted 4,000 in 2019. “Revenue contraction shows no signs of abating over 2014,” it continues, with sales anticipated to fall (another) 17 percent. Nine years ago, the industry employed close to 158,000 people. Today it’s 47,000, with about two-thirds of those jobs predicted to be gone with the wind five years from now.\u003c/p>\n\u003ch4>Local Stores Hanging On\u003c/h4>\n\u003cp>But it ain’t over till it’s over, and it ain’t over quite yet. A handful of video stores remain in San Francisco, though to talk to their owners is to very much wonder for how long. Their predicament has started to gain attention, especially with the \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=134827\" target=\"_blank\" rel=\"noopener\">near-closure of Le Video\u003c/a>, long a haven for cinephiles. Even AP \u003ca href=\"http://www.usatoday.com/videos/money/business/2014/06/13/10410219/\" target=\"_blank\" rel=\"noopener\">visited the city this summer\u003c/a> to check in on the survivors.\u003c/p>\n\u003cp>Here’s a status report on four of San Francisco’s most enduring video stores: Faye’s, Lost Weekend, Video Wave and Le Video.\u003c/p>\n\u003cfigure id=\"attachment_10139804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\" alt=\"Faye's famous sandwich board\" width=\"640\" height=\"857\" class=\"size-full wp-image-10139804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-224x300.jpg 224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Faye’s famous sandwich board\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Faye’s Video, 3614 18TH Street between Guerrero and Dolores\u003c/b>\u003c/p>\n\u003cp>Officially called Faye’s Video & Espresso Bar, it’s the latter part of that combo keeping the store afloat. That wasn’t always the case, says co-owner Matthew Troy. Six or seven years ago, movie rentals made up two-thirds of the business; now they account for just a quarter.\u003c/p>\n\u003cp>Troy says the store has seen a steady decline in rentals since a peak in 2008, estimating the business is down 60 percent since then. In the past year, a sharp decrease has sent video revenue to new lows.\u003c/p>\n\u003cp>Traditionally, the store saw about 100 new accounts created per month. But in a short period of time last summer, that number dropped. “It went to 100 to 90 to 60 and 50. Now we have literally half the amount of people coming in.”\u003c/p>\n\u003cp>Why such a precipitous drop? Troy thinks the change in people’s retail habits finally hit critical mass. “Netflix has been around for years, so something else is going on,” he says. “People live in areas without video stores, so when they move to San Francisco, their habit is already in place. We get people here all the time that say this is so ‘old school.’ I tell people we’re not selling Rubik’s Cubes, we don’t have Go-Gos posters up. It’s interesting how people turn on a place they would love to go to, and they’re just like ‘nope moving on to streaming on my phone or computer.’”\u003c/p>\n\u003cp>That technology has come of age, he realizes. “Four to five years ago streaming wasn’t as good; now you’ve got moms and dads streaming.”\u003c/p>\n\u003cp>Troy says the store could still make it on coffee sales if his video rental business collapsed completely. He and his partner have been talking about rearranging the interior so movies take up less space. “I’ve done the math to see if it was worth still having movies for the hours (put in),” he says.\u003c/p>\n\u003cp>It’s no surprise that Faye’s rent went up 50 percent recently. The store is located on one of the blocks that make the Valencia Corridor area so appealing to affluent newcomers, with Dolores Park on one end of the street, Tartine Bakery on the other, and Deflina restaurant and Bi-Rite Market in between. The store currently helps defray costs by subletting to popup stores.\u003c/p>\n\u003cp>Troy says he doesn’t like the thought of ending the movie business, though he and his partner have had those discussions. On some days “it’s like there are tumbleweeds coming in,” he says. “But there are still 500-600 people who rent from the store. I’m not ready to tell them to go online. You get those times they’re so excited to come to a video store. Like a six-year-old, with \u003ci>Little Mermaid\u003c/i> or something. They can actually hold the box and there’s a book. It’s a tangible place where people can discuss and look at it.\u003c/p>\n\u003cp>“But we can’t be in business to just have these stories once a month. We have to be smart about it.”\u003c/p>\n\u003cfigure id=\"attachment_10139987\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\" alt=\"Video Wave's building in Noe Valley gets a facelift; Photo by Colin Hutton\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Video Wave’s building in Noe Valley gets a facelift; Photo by Colin Hutton\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Video Wave of Noe Valley, 1431 Castro Street, between 25th & Jersey\u003c/b>\u003c/p>\n\u003cp>“We’re barely scraping by,” says Gwen Sanderson, a co-owner of Video Wave for 10 years. A moment later she amends that: “We aren’t really.”\u003c/p>\n\u003cp>Ominously, the store’s 10-year lease is up soon, and Video Wave doesn’t have the space to sublet to another retailer.\u003c/p>\n\u003cp>“We’ve been able to stay here because our landlord kept the rent affordable,” she says. “But we’re likely going to see a huge increase. We don’t know what’s going to happen. We’re putting out a letter to customers now letting them know what the situation is in case they want to get involved.”\u003c/p>\n\u003cp>Sanderson rattles off the names of local video stores that have closed over the years: Dr. Video, Naked Eye, Top World Video. In 2005, she says, two competitors coexisted within five blocks of her alone.\u003c/p>\n\u003cp>She thinks the industry has long needed a new business model. “The model was this is the only place you can get movies outside the theater. As soon as that changed, it needed to be tweaked.”\u003c/p>\n\u003cp>She would like the city to get involved in helping video stores survive, perhaps housing the entirety of the stores’ collections in one central location, then rotating titles through different neighborhoods in moviemobiles.\u003c/p>\n\u003cp>For now, that’s a pipe dream. But Sanderson thinks there’s a compelling cultural interest in preserving the 30 years worth of titles that the remaining video stores have collected. She says stores have many titles that simply aren’t available online, which would have to be purchased at high prices in order to be viewed, should they become un-rentable. She even wrote a press release in an attempt to start a conversation about the issue.\u003c/p>\n\u003cp>“The residents of San Francisco have access to every movie available for home viewing…. mainly held at locally owned video stores,” it reads. “If the last stores close in San Francisco, we will all lose access to a large percentage of what we currently have.”\u003c/p>\n\u003cfigure id=\"attachment_10139805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\" alt=\"Lost Weekend video in the heart of SF's Mission district\" width=\"640\" height=\"428\" class=\"size-full wp-image-10139805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lost Weekend video in the heart of SF’s Mission district\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lost Weekend Video, 1034 Valencia Street, between 21st and Hill\u003c/b>\u003c/p>\n\u003cp>The store’s steady decline in business started around 2008 amid the financial crisis and subsequent Great Recession, says co-owner David Hawkins. Business has fallen roughly 60 percent since then.\u003c/p>\n\u003cp>Lost Weekend sits among the upscale eateries and boutiques that have so transformed the Valencia Corridor. But high rent is not the problem, Hawkins says. The problem is people just aren’t renting anymore and they’re not renting in increasing numbers.\u003c/p>\n\u003cp>“It’s been down 10-15 percent each year, and we were calculating that into our math of figuring out what to do,” he says. “And then it just plummeted even further. We figured there’s got to be a bottom at some point. But there hasn’t been.”\u003c/p>\n\u003cp>Like Faye’s Matthew Troy, Hawkins sees the habits of the new demographic pouring into the neighborhood as the main problem.\u003c/p>\n\u003cp>“I used to know 90 percent of the people who walk by. Now it’s down to 5-10 percent. Everyone comes home on their buses from Google, gets on their email and computer, then goes to bed. There are fewer people leaving their houses.”\u003c/p>\n\u003cp>Hawkins says that five or six years ago, he tried to organize retailers around the catastrophe he was sure was on its way. “I went around with a little notebook to every record store, video store, and bookstore in the city, trying to get a p.r. campaign. Everyone was intrigued by it, but it was like herding cats.”\u003c/p>\n\u003cp>The store has tweaked its business over the years in response. Its 25,000 titles can now be rented for five days instead of two. And a space featuring live comedy has helped keep it solvent.\u003c/p>\n\u003cp>A month ago the store posted an SOS on its Facebook page, saying it was facing an “immediate crisis.” Nothing’s changed since then.\u003c/p>\n\u003cp>“It’s to the point where we don’t have any cushion,” Hawkins says. “If anything goes wrong, we don’t have the resources. If something breaks and it’s a 40-buck replacement because it’s out of print, we have to really wrestle with if we can afford it.”\u003c/p>\n\u003cp>He makes an appeal for customers to patronize their friendly neighborhood retailers, whatever they may be. The issue is something much larger than the imminent disappearance of an obsolete media model, he says.\u003c/p>\n\u003cp>“When people hear us complaining about our business going under, they’re like, ‘so what? It’s just a video store.’ But when you start piecing it together with record stores that have been around 70 years, and bookstores for hundreds of years, then you’re starting to get through what the problem really is. Everyone buys their shoes from Zappos, for instance. You used to be able to open this little shoe store in whatever town and make a living.”\u003c/p>\n\u003cp>Hawkins does not like Netflix. Video stores used to employ 150,000 people in the country, he notes; Netflix employs 2,000. He sees the choice of where you get your TV and movies as a political one.\u003c/p>\n\u003cp>“If Walmart plunked a store down in the middle of San Francisco, most people would go out of their way not to shop there. But for some reason, people don’t have that mindset about Amazon, Netflix and Apple. They’re bigger than Walmart now, humongous corporations.”\u003c/p>\n\u003cfigure id=\"attachment_10139988\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\" alt=\"In the middle of Le Video's remodel. Same location, just one floor up.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In the middle of Le Video’s remodel. Same location, just one floor up.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Le Video, 1231 9th Avenue, between Irving and Lincoln\u003c/b>\u003c/p>\n\u003cp>If there’s a shred of hope for brick and mortar movie rental stores, you can find it in the public response to the news that Le Video was about to turn out the lights — and not just to watch a movie. Practically a cultural institution because of its insanely copious collection, Le Video was long a must-visit for any cinephile looking for rarer titles.\u003c/p>\n\u003cp>But in March, the store’s owner, Catherine Tchen, wrote on Facebook that barring a “miracle,” she would shut down at the end of April 2014. At the time, I talked to the store’s buyer, longtime employee John Taylor, who said Le Video had been losing money for years, and Tchen could no longer afford to house its money-losing 80-90,000 titles on the large ground floor in lieu of renting it out.\u003c/p>\n\u003cp>So the plan was to move the collection to a smaller upstairs area. The store launched an \u003ca href=\"//www.indiegogo.com/projects/save-le-video-a-sf-film-institution%E2%80%9D\">Indiegogo campaign\u003c/a> to finance the transition, setting a goal of $35,000. It hit that mark in just 13 days, blasting past to a final total of $60,000, including $10,000 from \u003cem>Lemony Snicket\u003c/em> author Daniel Handler. Green Apple Books, a store with a similarly passionate customer base, is moving into Le Video’s former ground floor space. Green Apple Books opened on Aug. 1, while Le Video was set to open on Friday, Aug. 8, barring any additional delays.\u003c/p>\n\u003cp>Le Video is now feeling a bit flush, posting a Facebook message during the remodeling about “new Internet and new phones… that will actually work when you call us…”\u003c/p>\n\u003cp>Taylor says the money also went to hiring staff, building shelves, ordering materials for construction, and runs to the dump. Not to mention “little plastic sleeves that cost a shocking amount of money.”\u003c/p>\n\u003cp>But don’t expect the same browsing experience, once so pleasing to those who made special trips just to walk among the grotto-like arrangement of overflowing shelves. The upstairs space is about a third the size, Taylor says. All the plastic cases that housed the DVDs and Blu-rays have been discarded; you will have to conduct your treasure hunts in the kind of \u003ca href=\"//www.facebook.com/LeVideoSF/photos/a.447362580764.241311.27426240764/10152280730945765/?type=1&theater%E2%80%9D\">bins you see in record stores\u003c/a>.\u003c/p>\n\u003cp>The move will also not solve the underlying problem of a business that is half or less of what it used to be, with the bottom nowhere in sight. “We did notice that at the beginning of this year, despite (business) already being pretty low, it took another dip again,” Taylor says. To address that, the store is building a web browsing tool for its huge inventory, to be followed by an online rental function. Finally, Le Video hopes to offer rent-by-mail, a model that Netflix built its empire on but is now abandoning in favor of streaming.\u003c/p>\n\u003cp>Owner Catherine Tchen is quick to add the caveat that, though Le Video is seeking non-profit status, the store must be able to cover its own operating expenses. Le Video’s future success relies on loyal customers coming in more than once or twice a year.\u003c/p>\n\u003cp>Which provokes the question: Up against such technological, cash-flush gargantuans, are even the most forward-thinking, finely curated, and passionately complete neighborhood repositories of our cinematic heritage doomed to fight the last war in the rapidly changing media delivery game?\u003c/p>\n\u003cp>Last year I saw the author Rebecca Solnit at a fundraiser for Adobe Books, now a refugee from the same swath of hyper-gentrified neighborhood in which Lost Weekend and Faye’s reside. She counseled: “Start stocking up on memories of what used to be.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Next month, we’ll look into how the new business model of Netflix, slayer of so many video stores, could possibly make them relevant again.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You have to keep in mind just how few options there were back then. I’m talking pre-‘80s, before the VCR became the first in a long line of accessories to turn your TV into the culture’s central nervous system of escapism. You could go to retro houses or watch truncated old movies on television (interrupted by mood-shattering commercials). But those were essentially passive choices; you might find \u003cem>Citizen Kane\u003c/em>, or it might be \u003cem>Abbott and Costello Meet The Mummy\u003c/em>. You watched for a variety of reasons, one of them being “because it’s there.”\u003c/p>\n\u003cp>That is why I remember my first visit to a video store as a sort of cornucopian dream, a lavish spectacle that satisfied a deeply rooted desire. Dorothy’s first glimpse of Oz, exploding with color after a life of rural black and white. Or that famous \u003ci>Twilight Zone\u003c/i>, when the suicidal bookworm and lone survivor of a nuclear war otherwise known as Burgess Meredith \u003ca href=\"http://youtu.be/UAxARJyaTEA\" target=\"_blank\" rel=\"noopener\">happens upon the intact contents\u003c/a> of the New York Public Library.\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/x6D8PAGelN8'\n title='//www.youtube.com/embed/x6D8PAGelN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’ll it be today? \u003cem>The Seventh Seal\u003c/em>, \u003cem>Bicycle Thieves\u003c/em>, \u003cem>8 1/2\u003c/em>? Or maybe something in a Renoir? And here’s \u003cem>Force of Evil\u003c/em>, that overlooked noir you’ve been dying to see.\u003c/p>\n\u003cp>Kid, meet candy store.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast forward (or drag your mental scroll bar) to the present, when the video store remains pleasingly but inefficiently concrete, a physical holdout in an age when websites and servers have made instant gratification of your visual narrative needs de rigueur. Once the stuff that dreams are made of, the video store is now the most endangered species in the present media ecosystem, a relic mostly fit for frequenting by grandparents and technophobes.\u003c/p>\n\u003cp>Or so the numbers say. Reading a \u003ca href=\"http://www.ibisworld.com/industry/default.aspx?indid=1370\" target=\"_blank\" rel=\"noopener\">recent analysis of the industry\u003c/a> by business forecasting firm IBIS World is like looking over the last section of one of those obituaries news organizations prepare when someone is about to kick. The industry is in “the declining stage of its life cycle,” the report says. In 2005, nearly 23,000 video stores did business in the U.S. Today it’s 9,000, on the way to a predicted 4,000 in 2019. “Revenue contraction shows no signs of abating over 2014,” it continues, with sales anticipated to fall (another) 17 percent. Nine years ago, the industry employed close to 158,000 people. Today it’s 47,000, with about two-thirds of those jobs predicted to be gone with the wind five years from now.\u003c/p>\n\u003ch4>Local Stores Hanging On\u003c/h4>\n\u003cp>But it ain’t over till it’s over, and it ain’t over quite yet. A handful of video stores remain in San Francisco, though to talk to their owners is to very much wonder for how long. Their predicament has started to gain attention, especially with the \u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=134827\" target=\"_blank\" rel=\"noopener\">near-closure of Le Video\u003c/a>, long a haven for cinephiles. Even AP \u003ca href=\"http://www.usatoday.com/videos/money/business/2014/06/13/10410219/\" target=\"_blank\" rel=\"noopener\">visited the city this summer\u003c/a> to check in on the survivors.\u003c/p>\n\u003cp>Here’s a status report on four of San Francisco’s most enduring video stores: Faye’s, Lost Weekend, Video Wave and Le Video.\u003c/p>\n\u003cfigure id=\"attachment_10139804\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/fayes.jpg\" alt=\"Faye's famous sandwich board\" width=\"640\" height=\"857\" class=\"size-full wp-image-10139804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/fayes-224x300.jpg 224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Faye’s famous sandwich board\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Faye’s Video, 3614 18TH Street between Guerrero and Dolores\u003c/b>\u003c/p>\n\u003cp>Officially called Faye’s Video & Espresso Bar, it’s the latter part of that combo keeping the store afloat. That wasn’t always the case, says co-owner Matthew Troy. Six or seven years ago, movie rentals made up two-thirds of the business; now they account for just a quarter.\u003c/p>\n\u003cp>Troy says the store has seen a steady decline in rentals since a peak in 2008, estimating the business is down 60 percent since then. In the past year, a sharp decrease has sent video revenue to new lows.\u003c/p>\n\u003cp>Traditionally, the store saw about 100 new accounts created per month. But in a short period of time last summer, that number dropped. “It went to 100 to 90 to 60 and 50. Now we have literally half the amount of people coming in.”\u003c/p>\n\u003cp>Why such a precipitous drop? Troy thinks the change in people’s retail habits finally hit critical mass. “Netflix has been around for years, so something else is going on,” he says. “People live in areas without video stores, so when they move to San Francisco, their habit is already in place. We get people here all the time that say this is so ‘old school.’ I tell people we’re not selling Rubik’s Cubes, we don’t have Go-Gos posters up. It’s interesting how people turn on a place they would love to go to, and they’re just like ‘nope moving on to streaming on my phone or computer.’”\u003c/p>\n\u003cp>That technology has come of age, he realizes. “Four to five years ago streaming wasn’t as good; now you’ve got moms and dads streaming.”\u003c/p>\n\u003cp>Troy says the store could still make it on coffee sales if his video rental business collapsed completely. He and his partner have been talking about rearranging the interior so movies take up less space. “I’ve done the math to see if it was worth still having movies for the hours (put in),” he says.\u003c/p>\n\u003cp>It’s no surprise that Faye’s rent went up 50 percent recently. The store is located on one of the blocks that make the Valencia Corridor area so appealing to affluent newcomers, with Dolores Park on one end of the street, Tartine Bakery on the other, and Deflina restaurant and Bi-Rite Market in between. The store currently helps defray costs by subletting to popup stores.\u003c/p>\n\u003cp>Troy says he doesn’t like the thought of ending the movie business, though he and his partner have had those discussions. On some days “it’s like there are tumbleweeds coming in,” he says. “But there are still 500-600 people who rent from the store. I’m not ready to tell them to go online. You get those times they’re so excited to come to a video store. Like a six-year-old, with \u003ci>Little Mermaid\u003c/i> or something. They can actually hold the box and there’s a book. It’s a tangible place where people can discuss and look at it.\u003c/p>\n\u003cp>“But we can’t be in business to just have these stories once a month. We have to be smart about it.”\u003c/p>\n\u003cfigure id=\"attachment_10139987\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/videowave.jpg\" alt=\"Video Wave's building in Noe Valley gets a facelift; Photo by Colin Hutton\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/videowave-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Video Wave’s building in Noe Valley gets a facelift; Photo by Colin Hutton\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Video Wave of Noe Valley, 1431 Castro Street, between 25th & Jersey\u003c/b>\u003c/p>\n\u003cp>“We’re barely scraping by,” says Gwen Sanderson, a co-owner of Video Wave for 10 years. A moment later she amends that: “We aren’t really.”\u003c/p>\n\u003cp>Ominously, the store’s 10-year lease is up soon, and Video Wave doesn’t have the space to sublet to another retailer.\u003c/p>\n\u003cp>“We’ve been able to stay here because our landlord kept the rent affordable,” she says. “But we’re likely going to see a huge increase. We don’t know what’s going to happen. We’re putting out a letter to customers now letting them know what the situation is in case they want to get involved.”\u003c/p>\n\u003cp>Sanderson rattles off the names of local video stores that have closed over the years: Dr. Video, Naked Eye, Top World Video. In 2005, she says, two competitors coexisted within five blocks of her alone.\u003c/p>\n\u003cp>She thinks the industry has long needed a new business model. “The model was this is the only place you can get movies outside the theater. As soon as that changed, it needed to be tweaked.”\u003c/p>\n\u003cp>She would like the city to get involved in helping video stores survive, perhaps housing the entirety of the stores’ collections in one central location, then rotating titles through different neighborhoods in moviemobiles.\u003c/p>\n\u003cp>For now, that’s a pipe dream. But Sanderson thinks there’s a compelling cultural interest in preserving the 30 years worth of titles that the remaining video stores have collected. She says stores have many titles that simply aren’t available online, which would have to be purchased at high prices in order to be viewed, should they become un-rentable. She even wrote a press release in an attempt to start a conversation about the issue.\u003c/p>\n\u003cp>“The residents of San Francisco have access to every movie available for home viewing…. mainly held at locally owned video stores,” it reads. “If the last stores close in San Francisco, we will all lose access to a large percentage of what we currently have.”\u003c/p>\n\u003cfigure id=\"attachment_10139805\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/lostweekend.jpg\" alt=\"Lost Weekend video in the heart of SF's Mission district\" width=\"640\" height=\"428\" class=\"size-full wp-image-10139805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/lostweekend-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lost Weekend video in the heart of SF’s Mission district\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lost Weekend Video, 1034 Valencia Street, between 21st and Hill\u003c/b>\u003c/p>\n\u003cp>The store’s steady decline in business started around 2008 amid the financial crisis and subsequent Great Recession, says co-owner David Hawkins. Business has fallen roughly 60 percent since then.\u003c/p>\n\u003cp>Lost Weekend sits among the upscale eateries and boutiques that have so transformed the Valencia Corridor. But high rent is not the problem, Hawkins says. The problem is people just aren’t renting anymore and they’re not renting in increasing numbers.\u003c/p>\n\u003cp>“It’s been down 10-15 percent each year, and we were calculating that into our math of figuring out what to do,” he says. “And then it just plummeted even further. We figured there’s got to be a bottom at some point. But there hasn’t been.”\u003c/p>\n\u003cp>Like Faye’s Matthew Troy, Hawkins sees the habits of the new demographic pouring into the neighborhood as the main problem.\u003c/p>\n\u003cp>“I used to know 90 percent of the people who walk by. Now it’s down to 5-10 percent. Everyone comes home on their buses from Google, gets on their email and computer, then goes to bed. There are fewer people leaving their houses.”\u003c/p>\n\u003cp>Hawkins says that five or six years ago, he tried to organize retailers around the catastrophe he was sure was on its way. “I went around with a little notebook to every record store, video store, and bookstore in the city, trying to get a p.r. campaign. Everyone was intrigued by it, but it was like herding cats.”\u003c/p>\n\u003cp>The store has tweaked its business over the years in response. Its 25,000 titles can now be rented for five days instead of two. And a space featuring live comedy has helped keep it solvent.\u003c/p>\n\u003cp>A month ago the store posted an SOS on its Facebook page, saying it was facing an “immediate crisis.” Nothing’s changed since then.\u003c/p>\n\u003cp>“It’s to the point where we don’t have any cushion,” Hawkins says. “If anything goes wrong, we don’t have the resources. If something breaks and it’s a 40-buck replacement because it’s out of print, we have to really wrestle with if we can afford it.”\u003c/p>\n\u003cp>He makes an appeal for customers to patronize their friendly neighborhood retailers, whatever they may be. The issue is something much larger than the imminent disappearance of an obsolete media model, he says.\u003c/p>\n\u003cp>“When people hear us complaining about our business going under, they’re like, ‘so what? It’s just a video store.’ But when you start piecing it together with record stores that have been around 70 years, and bookstores for hundreds of years, then you’re starting to get through what the problem really is. Everyone buys their shoes from Zappos, for instance. You used to be able to open this little shoe store in whatever town and make a living.”\u003c/p>\n\u003cp>Hawkins does not like Netflix. Video stores used to employ 150,000 people in the country, he notes; Netflix employs 2,000. He sees the choice of where you get your TV and movies as a political one.\u003c/p>\n\u003cp>“If Walmart plunked a store down in the middle of San Francisco, most people would go out of their way not to shop there. But for some reason, people don’t have that mindset about Amazon, Netflix and Apple. They’re bigger than Walmart now, humongous corporations.”\u003c/p>\n\u003cfigure id=\"attachment_10139988\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/levideo.jpg\" alt=\"In the middle of Le Video's remodel. Same location, just one floor up.\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139988\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/levideo-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">In the middle of Le Video’s remodel. Same location, just one floor up.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Le Video, 1231 9th Avenue, between Irving and Lincoln\u003c/b>\u003c/p>\n\u003cp>If there’s a shred of hope for brick and mortar movie rental stores, you can find it in the public response to the news that Le Video was about to turn out the lights — and not just to watch a movie. Practically a cultural institution because of its insanely copious collection, Le Video was long a must-visit for any cinephile looking for rarer titles.\u003c/p>\n\u003cp>But in March, the store’s owner, Catherine Tchen, wrote on Facebook that barring a “miracle,” she would shut down at the end of April 2014. At the time, I talked to the store’s buyer, longtime employee John Taylor, who said Le Video had been losing money for years, and Tchen could no longer afford to house its money-losing 80-90,000 titles on the large ground floor in lieu of renting it out.\u003c/p>\n\u003cp>So the plan was to move the collection to a smaller upstairs area. The store launched an \u003ca href=\"//www.indiegogo.com/projects/save-le-video-a-sf-film-institution%E2%80%9D\">Indiegogo campaign\u003c/a> to finance the transition, setting a goal of $35,000. It hit that mark in just 13 days, blasting past to a final total of $60,000, including $10,000 from \u003cem>Lemony Snicket\u003c/em> author Daniel Handler. Green Apple Books, a store with a similarly passionate customer base, is moving into Le Video’s former ground floor space. Green Apple Books opened on Aug. 1, while Le Video was set to open on Friday, Aug. 8, barring any additional delays.\u003c/p>\n\u003cp>Le Video is now feeling a bit flush, posting a Facebook message during the remodeling about “new Internet and new phones… that will actually work when you call us…”\u003c/p>\n\u003cp>Taylor says the money also went to hiring staff, building shelves, ordering materials for construction, and runs to the dump. Not to mention “little plastic sleeves that cost a shocking amount of money.”\u003c/p>\n\u003cp>But don’t expect the same browsing experience, once so pleasing to those who made special trips just to walk among the grotto-like arrangement of overflowing shelves. The upstairs space is about a third the size, Taylor says. All the plastic cases that housed the DVDs and Blu-rays have been discarded; you will have to conduct your treasure hunts in the kind of \u003ca href=\"//www.facebook.com/LeVideoSF/photos/a.447362580764.241311.27426240764/10152280730945765/?type=1&theater%E2%80%9D\">bins you see in record stores\u003c/a>.\u003c/p>\n\u003cp>The move will also not solve the underlying problem of a business that is half or less of what it used to be, with the bottom nowhere in sight. “We did notice that at the beginning of this year, despite (business) already being pretty low, it took another dip again,” Taylor says. To address that, the store is building a web browsing tool for its huge inventory, to be followed by an online rental function. Finally, Le Video hopes to offer rent-by-mail, a model that Netflix built its empire on but is now abandoning in favor of streaming.\u003c/p>\n\u003cp>Owner Catherine Tchen is quick to add the caveat that, though Le Video is seeking non-profit status, the store must be able to cover its own operating expenses. Le Video’s future success relies on loyal customers coming in more than once or twice a year.\u003c/p>\n\u003cp>Which provokes the question: Up against such technological, cash-flush gargantuans, are even the most forward-thinking, finely curated, and passionately complete neighborhood repositories of our cinematic heritage doomed to fight the last war in the rapidly changing media delivery game?\u003c/p>\n\u003cp>Last year I saw the author Rebecca Solnit at a fundraiser for Adobe Books, now a refugee from the same swath of hyper-gentrified neighborhood in which Lost Weekend and Faye’s reside. She counseled: “Start stocking up on memories of what used to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Next month, we’ll look into how the new business model of Netflix, slayer of so many video stores, could possibly make them relevant again.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Back to the Drive-In: 5 to Watch",
"headTitle": "Back to the Drive-In: 5 to Watch | KQED",
"content": "\u003cp>The heat makes everyone a little daft. Even normally rational film programmers and curators lose themselves for hours rummaging around in the basement, the attic, and the storage locker. They return to the land of the living, blinking in the sunlight, with reels of sizzling celluloid at the outer bounds of movie love. Lunatic plots, crazy casting, off-the-wall dialogue — it may not be art, but who can resist a quivering hunk of unadulterated id? (Only someone who believes there ain’t no cure for the summertime blues.) It’s August, and the fever is upon us all.\u003c/p>\n\u003cfigure id=\"attachment_10139793\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cinemaniacs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cinemaniacs.jpg\" alt=\"Hell Without Limits\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cinemaniacs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cinemaniacs-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cinemaniacs-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Hell Without Limits\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime Yerba Buena Center for the Arts film curator Joel Shepard opened the gates to an endearing array of genre-crazy barbarians for a series with the apt title, \u003cstrong>Invasion of the Cinemaniacs\u003c/strong>, which is part of the seventh edition of the center’s \u003ca href=\"http://ww2.kqed.org/arts/2014/07/18/choose-your-own-adventure-through-the-bay-area-now/\" target=\"_blank\" rel=\"noopener\">\u003cb>Bay Area Now\u003c/b>\u003c/a> triennial. Treasures abound, from Jesse Hawthorne Ficks’ salute to 1980s-90s exploitation director William Lustig (Aug. 15-16, with the director on hand) to Michael Guillen’s excavation of \u003cem>Hell Without Limits\u003c/em> (\u003cem>El Lugar Sin Límites\u003c/em>), S.F. International Film Festival Kurosawa Award-winner Arturo Ripstein’s powerhouse 1978 saga of a cross-dressing flamenco dancer and a macho hunk with malevolent motives (Aug. 23, with the director present). The lowbrow highlight, I humbly submit, is \u003cem>Death Wish 3\u003c/em> (Aug. 9), a revenge sequel to a revenge sequel to a revenge picture that offers the added pleasure of \u003ci>SF Bay Guardian\u003c/i> editor Cheryl Eddy revealing her secret Charles Bronson crush to the world. (I’m just guessing.) For \u003ca href=\"http://www.ybca.org/invasion-cinemaniacs\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10139794\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vivalasvegas.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vivalasvegas.jpg\" alt=\"Viva Las Vegas\" width=\"640\" height=\"670\" class=\"size-full wp-image-10139794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vivalasvegas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vivalasvegas-400x418.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vivalasvegas-286x300.jpg 286w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Viva Las Vegas\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The long running Paramount Movie Classics series at Oakland’s glorious downtown palace picks the perfect month to mark the 50th anniversary of the hot-rod landmark \u003cem>Viva Las Vegas\u003c/em> (Aug. 15). The timeless pairing of Elvis Presley and Ann-Margret can still raise temperatures, regardless of your gender. Widely acknowledged as one of the three best pictures Elvis made in an admittedly spotty film career (curse you, Col. Parker), \u003cem>Viva Las Vegas\u003c/em> has charisma and charm to burn. Let’s not forget the King’s sublime voice, which shines on the rockers and ballads alike. Ann-Margret sings a couple numbers, too, momentarily taking our mind off her other assets. For \u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit paramounttheatre.com.\u003c/p>\n\u003cfigure id=\"attachment_10139795\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brownbread.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brownbread.jpg\" alt=\"Brown Bread\" width=\"640\" height=\"273\" class=\"size-full wp-image-10139795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brownbread.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brownbread-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brownbread-300x127.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brown Bread: The Story of an Adoptive Family\u003c/figcaption>\u003c/figure>\n\u003cp>There’s nothing campy about \u003cem>Brown Bread: The Story of an Adoptive Family\u003c/em>, Sarah Gross’ resonant portrait of her exceptionally diverse Northern California clan. One of six children from a range of backgrounds and races adopted and raised by exceptional parents, Gross delves into her siblings’ grown-up lives to see if class and racial differences exist, and persist. An entrepreneur, a Stanford professor, a manual laborer, a filmmaker who lives in Germany — the “cast” offers ample opportunity for revelation and insight. The Berlin-based filmmaker will be in town for the Aug. 10 screening at the Roxie, then jets off with her documentary to the Isle of Wight Film Festival. For \u003ca href=\"http://www.roxie.com/ai1ec_event/bay-area-docs-brown-bread/?instance_id=3522\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_10139796\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/muppetmovie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/muppetmovie.jpg\" alt=\"The Muppet Movie\" width=\"640\" height=\"857\" class=\"size-full wp-image-10139796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/muppetmovie.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/muppetmovie-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/muppetmovie-224x300.jpg 224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Muppet Movie\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 35 years, believe it or not, since \u003cem>The Muppet Movie\u003c/em> rolled into theaters and won the hearts of children and adults for all time. The brilliant Jim Henson and Frank Oz assembled an iconoclastic supporting cast that includes Milton Berle, Edgar Bergen, Mel Brooks, James Coburn, Madeline Kahn, Dom DeLuise, Elliott Gould and Bob Hope. The real draw, of course, is Kermit the Frog, who holds the proceedings together without a single wrong croak. Screening Aug. 16 in a family matinee, \u003cem>The Muppet Movie\u003c/em> is one of several standouts at the Castro this month: the sing along \u003cem>Wizard of Oz\u003c/em> (Aug. 8-10), Luchino Visconti’s monumental and profound \u003cem>The Leopard\u003c/em> with Burt Lancaster (Aug. 24) and David Lean’s always compelling \u003cem>Lawrence of Arabia\u003c/em> (Aug. 30-Sept. 1) For \u003ca href=\"http://www.castrotheatre.com/coming-soon.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit castrotheatre.com.\u003c/p>\n\u003cfigure id=\"attachment_10139797\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/shack.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/shack.jpg\" alt=\"The Shack on 101\" width=\"640\" height=\"659\" class=\"size-full wp-image-10139797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack-400x411.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack-291x300.jpg 291w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shack Out on 101\u003c/figcaption>\u003c/figure>\n\u003cp>It may be impossible to find a drive-in theater still in operation, but any warm-weather outdoor screening offers a passable replica (without the veneer of privacy, of course) of that offbeat movie experience. The Pacific Film Archive’s contribution to the blanket-on-the-grass genre is \u003cem>Shack Out on 101\u003c/em> (Aug. 27), a singular 1955 oddity starring Lee Marvin as a short-order cook in a greasy spoon in the vicinity of a high-level research facility. Secrets! Spies! Traitors! PFA curator Steve Seid must have spent a lot of time in the vault digging up this delirious contribution to Cold War angst. Hmmm, maybe it’s a warning from another time to ours, what with the Russkies rattling their sabers in the Ukraine and Chechnya. I jest, but soon enough we’ll be up to our button-down collars in serious films with global themes. For\u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/outdoor_2014\" target=\"_blank\" rel=\"noopener\"> more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Summer movie mania peaks with Elvis, the Muppets, Bronson and Cold War paranoia.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The heat makes everyone a little daft. Even normally rational film programmers and curators lose themselves for hours rummaging around in the basement, the attic, and the storage locker. They return to the land of the living, blinking in the sunlight, with reels of sizzling celluloid at the outer bounds of movie love. Lunatic plots, crazy casting, off-the-wall dialogue — it may not be art, but who can resist a quivering hunk of unadulterated id? (Only someone who believes there ain’t no cure for the summertime blues.) It’s August, and the fever is upon us all.\u003c/p>\n\u003cfigure id=\"attachment_10139793\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cinemaniacs.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/cinemaniacs.jpg\" alt=\"Hell Without Limits\" width=\"640\" height=\"480\" class=\"size-full wp-image-10139793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cinemaniacs.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cinemaniacs-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/cinemaniacs-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Hell Without Limits\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime Yerba Buena Center for the Arts film curator Joel Shepard opened the gates to an endearing array of genre-crazy barbarians for a series with the apt title, \u003cstrong>Invasion of the Cinemaniacs\u003c/strong>, which is part of the seventh edition of the center’s \u003ca href=\"http://ww2.kqed.org/arts/2014/07/18/choose-your-own-adventure-through-the-bay-area-now/\" target=\"_blank\" rel=\"noopener\">\u003cb>Bay Area Now\u003c/b>\u003c/a> triennial. Treasures abound, from Jesse Hawthorne Ficks’ salute to 1980s-90s exploitation director William Lustig (Aug. 15-16, with the director on hand) to Michael Guillen’s excavation of \u003cem>Hell Without Limits\u003c/em> (\u003cem>El Lugar Sin Límites\u003c/em>), S.F. International Film Festival Kurosawa Award-winner Arturo Ripstein’s powerhouse 1978 saga of a cross-dressing flamenco dancer and a macho hunk with malevolent motives (Aug. 23, with the director present). The lowbrow highlight, I humbly submit, is \u003cem>Death Wish 3\u003c/em> (Aug. 9), a revenge sequel to a revenge sequel to a revenge picture that offers the added pleasure of \u003ci>SF Bay Guardian\u003c/i> editor Cheryl Eddy revealing her secret Charles Bronson crush to the world. (I’m just guessing.) For \u003ca href=\"http://www.ybca.org/invasion-cinemaniacs\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10139794\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vivalasvegas.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/vivalasvegas.jpg\" alt=\"Viva Las Vegas\" width=\"640\" height=\"670\" class=\"size-full wp-image-10139794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vivalasvegas.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vivalasvegas-400x418.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/vivalasvegas-286x300.jpg 286w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Viva Las Vegas\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The long running Paramount Movie Classics series at Oakland’s glorious downtown palace picks the perfect month to mark the 50th anniversary of the hot-rod landmark \u003cem>Viva Las Vegas\u003c/em> (Aug. 15). The timeless pairing of Elvis Presley and Ann-Margret can still raise temperatures, regardless of your gender. Widely acknowledged as one of the three best pictures Elvis made in an admittedly spotty film career (curse you, Col. Parker), \u003cem>Viva Las Vegas\u003c/em> has charisma and charm to burn. Let’s not forget the King’s sublime voice, which shines on the rockers and ballads alike. Ann-Margret sings a couple numbers, too, momentarily taking our mind off her other assets. For \u003ca href=\"http://www.paramounttheatre.com/film.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit paramounttheatre.com.\u003c/p>\n\u003cfigure id=\"attachment_10139795\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brownbread.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brownbread.jpg\" alt=\"Brown Bread\" width=\"640\" height=\"273\" class=\"size-full wp-image-10139795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brownbread.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brownbread-400x170.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brownbread-300x127.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brown Bread: The Story of an Adoptive Family\u003c/figcaption>\u003c/figure>\n\u003cp>There’s nothing campy about \u003cem>Brown Bread: The Story of an Adoptive Family\u003c/em>, Sarah Gross’ resonant portrait of her exceptionally diverse Northern California clan. One of six children from a range of backgrounds and races adopted and raised by exceptional parents, Gross delves into her siblings’ grown-up lives to see if class and racial differences exist, and persist. An entrepreneur, a Stanford professor, a manual laborer, a filmmaker who lives in Germany — the “cast” offers ample opportunity for revelation and insight. The Berlin-based filmmaker will be in town for the Aug. 10 screening at the Roxie, then jets off with her documentary to the Isle of Wight Film Festival. For \u003ca href=\"http://www.roxie.com/ai1ec_event/bay-area-docs-brown-bread/?instance_id=3522\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cfigure id=\"attachment_10139796\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/muppetmovie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/muppetmovie.jpg\" alt=\"The Muppet Movie\" width=\"640\" height=\"857\" class=\"size-full wp-image-10139796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/muppetmovie.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/muppetmovie-400x535.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/muppetmovie-224x300.jpg 224w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Muppet Movie\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been 35 years, believe it or not, since \u003cem>The Muppet Movie\u003c/em> rolled into theaters and won the hearts of children and adults for all time. The brilliant Jim Henson and Frank Oz assembled an iconoclastic supporting cast that includes Milton Berle, Edgar Bergen, Mel Brooks, James Coburn, Madeline Kahn, Dom DeLuise, Elliott Gould and Bob Hope. The real draw, of course, is Kermit the Frog, who holds the proceedings together without a single wrong croak. Screening Aug. 16 in a family matinee, \u003cem>The Muppet Movie\u003c/em> is one of several standouts at the Castro this month: the sing along \u003cem>Wizard of Oz\u003c/em> (Aug. 8-10), Luchino Visconti’s monumental and profound \u003cem>The Leopard\u003c/em> with Burt Lancaster (Aug. 24) and David Lean’s always compelling \u003cem>Lawrence of Arabia\u003c/em> (Aug. 30-Sept. 1) For \u003ca href=\"http://www.castrotheatre.com/coming-soon.html\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit castrotheatre.com.\u003c/p>\n\u003cfigure id=\"attachment_10139797\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/shack.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/shack.jpg\" alt=\"The Shack on 101\" width=\"640\" height=\"659\" class=\"size-full wp-image-10139797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack-400x411.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack-291x300.jpg 291w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/shack-32x32.jpg 32w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shack Out on 101\u003c/figcaption>\u003c/figure>\n\u003cp>It may be impossible to find a drive-in theater still in operation, but any warm-weather outdoor screening offers a passable replica (without the veneer of privacy, of course) of that offbeat movie experience. The Pacific Film Archive’s contribution to the blanket-on-the-grass genre is \u003cem>Shack Out on 101\u003c/em> (Aug. 27), a singular 1955 oddity starring Lee Marvin as a short-order cook in a greasy spoon in the vicinity of a high-level research facility. Secrets! Spies! Traitors! PFA curator Steve Seid must have spent a lot of time in the vault digging up this delirious contribution to Cold War angst. Hmmm, maybe it’s a warning from another time to ours, what with the Russkies rattling their sabers in the Ukraine and Chechnya. I jest, but soon enough we’ll be up to our button-down collars in serious films with global themes. For\u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/outdoor_2014\" target=\"_blank\" rel=\"noopener\"> more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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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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"order": 15
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "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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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"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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