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"content": "\u003cp>It’s the time of year for road trips and family getaways, backpacking and car camping, Sierra adventures and European expeditions. Maybe you’re lucky enough to have travel plans that will take you further than a neighbor’s backyard barbeque or a waterfront fireworks show. If not, and you’re stuck spending the lazy, hazy, crazy days of summer in the Bay Area — a coveted destination for thousands of eager visitors from around the world, mind you — there are ways to transport yourself far, far away, even if it’s only for a few hours. That’s the magic of movies.\u003c/p>\n\u003cfigure id=\"attachment_10138702\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sebastiane.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sebastiane.jpg\" alt=\"Sebastiane\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sebastiane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sebastiane-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sebastiane-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sebastiane\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>We begin our itinerary in cool, blue England, where painter-turned-filmmaker Derek Jarman conjured poetry and beauty out of the ruthlessness of British history and the darkness of the Thatcher (and AIDS) era. The career-spanning Pacific Film Archive retrospective, \u003cstrong>Derek Jarman, Visionary\u003c/strong> (July 5-Aug. 28) begins with the gay director’s utterly original 1970s breakthroughs, \u003cem>Sebastiane\u003c/em> and \u003cem>Jubilee\u003c/em>, moves on to his ambitious ‘80s triumphs—\u003cem>Caravaggio\u003c/em>, \u003cem>The Last of England\u003c/em>, \u003cem>War Requiem\u003c/em>—and climaxes with the early ‘90s quartet of \u003cem>Edward II\u003c/em>, \u003cem>The Garden\u003c/em>, \u003cem>Wittgenstein\u003c/em> and \u003cem>Blue\u003c/em>. These expansive and fearless movies, remastered by the British Film Institute to commemorate the 20th anniversary of Jarman’s death, comprise a beautiful tornado of historical imagination, political acuity, philosophical rumination and soaring music. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/jarman_2014\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10138703\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/boyhood.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/boyhood.jpg\" alt=\"Boyhood\" width=\"640\" height=\"320\" class=\"size-full wp-image-10138703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/boyhood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/boyhood-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/boyhood-300x150.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boyhood\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Choose your next detour from a trio of new releases at local arthouses. The documentary \u003cem>Life Itself\u003c/em> (opening July 4) profiles hard-drinking Chicago newspaperman \u003cstrong>Roger Ebert\u003c/strong>, a perpetually engaged and perennially optimistic public intellectual who spent most of his career camouflaged as a film critic and TV personality. The peripatetic Texan \u003cstrong>Richard Linklater\u003c/strong>, who has quietly become the essential American director of our time, achieves a rarefied profundity with \u003cem>Boyhood\u003c/em> (opening July 18), a first-of-its-kind coming-of-age saga filmed with the same actors over a period of a dozen years. Finally, \u003cstrong>Woody Allen\u003c/strong>’s late-career resurrection as a confectioner of recycled romantic fantasies in postcard locales continues with \u003cem>Magic in the Moonlight\u003c/em> (opening July 25). If your summer travel plans don’t include the French Riviera, Woody has you covered.\u003c/p>\n\u003cfigure id=\"attachment_10138704\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brakhage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brakhage.jpg\" alt=\"Stan Brakhage films\" width=\"640\" height=\"361\" class=\"size-full wp-image-10138704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brakhage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brakhage-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brakhage-300x169.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cb>Brakhage, Brakhage, Brakhage\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003cp>Locations, scenery, setting, place—none of this was particularly important to the late, great avant-garde filmmaker Stan Brakhage. His preferred techniques, in a body of work spanning more than 400 films, were painting on celluloid and scratching the emulsion. The result: sophisticated, demanding experiments in cinema comprised of handmade distillations of color and light. Brakhage made the most open-ended and generous films imaginable, in that they resist linear understanding or intellectual interpretation and free the viewer’s thoughts to go anywhere. Whether you’re hankering for a trip to another galaxy or a journey to the center of your mind, \u003cstrong>Brakhage, Brakhage, Brakhage\u003c/strong> (July 6, 10 and 13 at Yerba Buena Center for the Arts) is the ideal means of transport. For \u003ca href=\"www.ybca.org/brakhage\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10138705\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/hardday.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/hardday.jpg\" alt=\"A Hard Day's Night\" width=\"640\" height=\"641\" class=\"size-full wp-image-10138705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>A Hard Day’s Night\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes, but not always — be careful! — a journey to the past can provide a comforting respite. The Castro hosts new restorations of three beloved masterpieces in July, beginning with Richard Lester’s still-vibrant \u003cstrong>Beatles\u003c/strong> romp \u003cem>A Hard Day’s Night\u003c/em> (July 9, paired with Robert Zemeckis’ 1978 evocation of 1964, \u003cem>I Wanna Hold Your Hand\u003c/em>). A different view from the ‘60s, of power, conformity and messy rebellion, is represented the following day by \u003cstrong>Joseph Losey\u003c/strong> and \u003cstrong>Dirk Bogarde\u003c/strong>’s bracing collaborations, \u003cem>The Servant\u003c/em> (a new digital restoration) and \u003cem>Accident\u003c/em> (July 10). The Castro celebrates the immortal \u003cstrong>Alec Guinness\u003c/strong>’ centennial with a new restoration of \u003cem>The Ladykillers\u003c/em> on a double bill with \u003cem>The Lavender Hill Mob\u003c/em> (July 13). For \u003ca href=\"http://www.castrotheatre.com/Print_Calendar.pdf\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to castrotheatre.com.\u003c/p>\n\u003cfigure id=\"attachment_10138706\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/busstop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/busstop.jpg\" alt=\"Don Murray in Bus Sto\" width=\"640\" height=\"384\" class=\"size-full wp-image-10138706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/busstop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/busstop-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/busstop-300x180.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Don Murray in \u003ci>Bus Stop\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The Roxie continues its long tradition of unearthing and spotlighting forgotten figures from cinema’s odder corners with \u003cstrong>A Special Weekend with Don Murray\u003c/strong> (July 11-13). An erstwhile matinee idol who sidestepped fame and fortune after his mid-1950s success in \u003cem>Bus Stop\u003c/em> (co-starring Marilyn Monroe), Murray appeared in a variety of movies in the ensuing years that are the epitome of “forgotten.” Are they lost classics, cult film contenders or better left on the shelf? Decide for yourself and meet the good-natured actor, who will grace the Roxie stage for interview on Saturday and Sunday. For more information, go to http://www.roxie.com/ai1ec_event/special-weekend-don-murray/?instance_id=3867. (Classical-music lovers, and humanists of all stripes, are alerted to \u003cem>Following the Ninth\u003c/em> (July 15 at the Roxie), a continent-hopping documentary about the real-world manifestation of Beethoven’s theme — \u003cem>Alle Menschen werden Bruder \u003c/em>(All People Are Brothers) — in several countries.)\u003c/p>\n\u003cfigure id=\"attachment_10138707\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/japan.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/japan.jpg\" alt=\"The Garden of Words\" width=\"640\" height=\"361\" class=\"size-full wp-image-10138707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/japan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/japan-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/japan-300x169.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Garden of Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The last stop on our ramble is the second \u003cstrong>Japan Film Festival of San Francisco\u003c/strong>, unspooling July 19-27 at New People Cinema in conjunction with the curious and colorful J-Pop Summit Festival (the weekend of July 19-20). The selection of new works covers everything from anime to documentary. We’re especially intrigued by the U.S. premieres, notably the food porn-meets-historical epic \u003cem>A Tale of Samurai Cooking: A True Love Story\u003c/em> (Jul 25 and 27) and \u003cem>Crows: Explode\u003c/em>, a violent portrait of high school gangs based on the manga by Hiroshi Takahashi (July 24 and 27). For \u003ca href=\"http://jffsf.org/2014/films/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to jffsf.org. Hot fun in the summertime, indeed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the time of year for road trips and family getaways, backpacking and car camping, Sierra adventures and European expeditions. Maybe you’re lucky enough to have travel plans that will take you further than a neighbor’s backyard barbeque or a waterfront fireworks show. If not, and you’re stuck spending the lazy, hazy, crazy days of summer in the Bay Area — a coveted destination for thousands of eager visitors from around the world, mind you — there are ways to transport yourself far, far away, even if it’s only for a few hours. That’s the magic of movies.\u003c/p>\n\u003cfigure id=\"attachment_10138702\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sebastiane.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/sebastiane.jpg\" alt=\"Sebastiane\" width=\"640\" height=\"480\" class=\"size-full wp-image-10138702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sebastiane.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sebastiane-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/sebastiane-300x225.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Sebastiane\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>We begin our itinerary in cool, blue England, where painter-turned-filmmaker Derek Jarman conjured poetry and beauty out of the ruthlessness of British history and the darkness of the Thatcher (and AIDS) era. The career-spanning Pacific Film Archive retrospective, \u003cstrong>Derek Jarman, Visionary\u003c/strong> (July 5-Aug. 28) begins with the gay director’s utterly original 1970s breakthroughs, \u003cem>Sebastiane\u003c/em> and \u003cem>Jubilee\u003c/em>, moves on to his ambitious ‘80s triumphs—\u003cem>Caravaggio\u003c/em>, \u003cem>The Last of England\u003c/em>, \u003cem>War Requiem\u003c/em>—and climaxes with the early ‘90s quartet of \u003cem>Edward II\u003c/em>, \u003cem>The Garden\u003c/em>, \u003cem>Wittgenstein\u003c/em> and \u003cem>Blue\u003c/em>. These expansive and fearless movies, remastered by the British Film Institute to commemorate the 20th anniversary of Jarman’s death, comprise a beautiful tornado of historical imagination, political acuity, philosophical rumination and soaring music. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/jarman_2014\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to bampfa.berkeley.edu.\u003c/p>\n\u003cfigure id=\"attachment_10138703\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/boyhood.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/boyhood.jpg\" alt=\"Boyhood\" width=\"640\" height=\"320\" class=\"size-full wp-image-10138703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/boyhood.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/boyhood-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/boyhood-300x150.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boyhood\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Choose your next detour from a trio of new releases at local arthouses. The documentary \u003cem>Life Itself\u003c/em> (opening July 4) profiles hard-drinking Chicago newspaperman \u003cstrong>Roger Ebert\u003c/strong>, a perpetually engaged and perennially optimistic public intellectual who spent most of his career camouflaged as a film critic and TV personality. The peripatetic Texan \u003cstrong>Richard Linklater\u003c/strong>, who has quietly become the essential American director of our time, achieves a rarefied profundity with \u003cem>Boyhood\u003c/em> (opening July 18), a first-of-its-kind coming-of-age saga filmed with the same actors over a period of a dozen years. Finally, \u003cstrong>Woody Allen\u003c/strong>’s late-career resurrection as a confectioner of recycled romantic fantasies in postcard locales continues with \u003cem>Magic in the Moonlight\u003c/em> (opening July 25). If your summer travel plans don’t include the French Riviera, Woody has you covered.\u003c/p>\n\u003cfigure id=\"attachment_10138704\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brakhage.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/brakhage.jpg\" alt=\"Stan Brakhage films\" width=\"640\" height=\"361\" class=\"size-full wp-image-10138704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brakhage.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brakhage-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/brakhage-300x169.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003cb>Brakhage, Brakhage, Brakhage\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003cp>Locations, scenery, setting, place—none of this was particularly important to the late, great avant-garde filmmaker Stan Brakhage. His preferred techniques, in a body of work spanning more than 400 films, were painting on celluloid and scratching the emulsion. The result: sophisticated, demanding experiments in cinema comprised of handmade distillations of color and light. Brakhage made the most open-ended and generous films imaginable, in that they resist linear understanding or intellectual interpretation and free the viewer’s thoughts to go anywhere. Whether you’re hankering for a trip to another galaxy or a journey to the center of your mind, \u003cstrong>Brakhage, Brakhage, Brakhage\u003c/strong> (July 6, 10 and 13 at Yerba Buena Center for the Arts) is the ideal means of transport. For \u003ca href=\"www.ybca.org/brakhage\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to ybca.org.\u003c/p>\n\u003cfigure id=\"attachment_10138705\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/hardday.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/hardday.jpg\" alt=\"A Hard Day's Night\" width=\"640\" height=\"641\" class=\"size-full wp-image-10138705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/hardday-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>A Hard Day’s Night\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes, but not always — be careful! — a journey to the past can provide a comforting respite. The Castro hosts new restorations of three beloved masterpieces in July, beginning with Richard Lester’s still-vibrant \u003cstrong>Beatles\u003c/strong> romp \u003cem>A Hard Day’s Night\u003c/em> (July 9, paired with Robert Zemeckis’ 1978 evocation of 1964, \u003cem>I Wanna Hold Your Hand\u003c/em>). A different view from the ‘60s, of power, conformity and messy rebellion, is represented the following day by \u003cstrong>Joseph Losey\u003c/strong> and \u003cstrong>Dirk Bogarde\u003c/strong>’s bracing collaborations, \u003cem>The Servant\u003c/em> (a new digital restoration) and \u003cem>Accident\u003c/em> (July 10). The Castro celebrates the immortal \u003cstrong>Alec Guinness\u003c/strong>’ centennial with a new restoration of \u003cem>The Ladykillers\u003c/em> on a double bill with \u003cem>The Lavender Hill Mob\u003c/em> (July 13). For \u003ca href=\"http://www.castrotheatre.com/Print_Calendar.pdf\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to castrotheatre.com.\u003c/p>\n\u003cfigure id=\"attachment_10138706\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/busstop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/busstop.jpg\" alt=\"Don Murray in Bus Sto\" width=\"640\" height=\"384\" class=\"size-full wp-image-10138706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/busstop.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/busstop-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/busstop-300x180.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Don Murray in \u003ci>Bus Stop\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The Roxie continues its long tradition of unearthing and spotlighting forgotten figures from cinema’s odder corners with \u003cstrong>A Special Weekend with Don Murray\u003c/strong> (July 11-13). An erstwhile matinee idol who sidestepped fame and fortune after his mid-1950s success in \u003cem>Bus Stop\u003c/em> (co-starring Marilyn Monroe), Murray appeared in a variety of movies in the ensuing years that are the epitome of “forgotten.” Are they lost classics, cult film contenders or better left on the shelf? Decide for yourself and meet the good-natured actor, who will grace the Roxie stage for interview on Saturday and Sunday. For more information, go to http://www.roxie.com/ai1ec_event/special-weekend-don-murray/?instance_id=3867. (Classical-music lovers, and humanists of all stripes, are alerted to \u003cem>Following the Ninth\u003c/em> (July 15 at the Roxie), a continent-hopping documentary about the real-world manifestation of Beethoven’s theme — \u003cem>Alle Menschen werden Bruder \u003c/em>(All People Are Brothers) — in several countries.)\u003c/p>\n\u003cfigure id=\"attachment_10138707\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/japan.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/japan.jpg\" alt=\"The Garden of Words\" width=\"640\" height=\"361\" class=\"size-full wp-image-10138707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/japan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/japan-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/japan-300x169.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>The Garden of Words\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The last stop on our ramble is the second \u003cstrong>Japan Film Festival of San Francisco\u003c/strong>, unspooling July 19-27 at New People Cinema in conjunction with the curious and colorful J-Pop Summit Festival (the weekend of July 19-20). The selection of new works covers everything from anime to documentary. We’re especially intrigued by the U.S. premieres, notably the food porn-meets-historical epic \u003cem>A Tale of Samurai Cooking: A True Love Story\u003c/em> (Jul 25 and 27) and \u003cem>Crows: Explode\u003c/em>, a violent portrait of high school gangs based on the manga by Hiroshi Takahashi (July 24 and 27). For \u003ca href=\"http://jffsf.org/2014/films/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, go to jffsf.org. Hot fun in the summertime, indeed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to NPR’s Arun Rath speak to voice actor Peter Cullen, the voice of Transformers’ Optimus Prime:\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/06/20140629_atc_behind_optimus_prime_and_eeyore_one_mans_signature_voice.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>Transformers: Age of Extinction\u003c/em> has smashed its way to the \u003ca href=\"http://variety.com/2014/film/news/box-office-transformers-age-of-extinction-rules-with-100-mil-1201254336/\" target=\"_blank\" rel=\"noopener\">No. 1 spot\u003c/a> at the box office. Director Michael Bay’s film franchise has consistently topped charts since the first film arrived in theaters in 2007.\u003c/p>\n\u003cp>The live-action films have embraced the latest in visual affects — but the movies have also called back to the series’ past, through the voice of Peter Cullen.\u003c/p>\n\u003cp>Cullen, 72, was the first actor to give voice to Optimus Prime — the leader of the Autobots, and the series’ metal, robotic heart — on the original \u003cem>Transformers\u003c/em> cartoon show in the 1980s. Other actors have played Optimus Prime in various iterations of \u003cem>Transformers\u003c/em> over the years, but Cullen happily returned to the role for the live-action film franchise.\u003c/p>\n\u003cfigure id=\"attachment_10138542\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/PEter-Cullen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/PEter-Cullen.jpg\" alt=\"Voice actor Peter Cullen arrives at the premiere of Transformers: Revenge of the Fallen in June 2009.\" width=\"500\" height=\"500\" class=\"size-full wp-image-10138542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Voice actor Peter Cullen arrives at the premiere of \u003cem>Transformers: Revenge of the Fallen\u003c/em> in June 2009. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview with NPR’s Arun Rath, Cullen says playing Optimus Prime again was “like slipping into an old pair of shoes that you hid in the back of your closet.”\u003c/p>\n\u003cp>Cullen got his big break as the announcer on \u003cem>The Sonny & Cher Comedy Hour\u003c/em>\u003cem> \u003c/em>in the early 1970s, and famously voiced Eeyore in \u003cem>Winnie the Pooh\u003c/em>. He tells Rath that of the many\u003cstrong> \u003c/strong>characters he has played over the years, a certain giant, extraterrestrial robot is still his favorite.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On when he realized he had a talent for doing voices\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I lived on a farm, and I worked the farm. And I remember the very first summer, I could imitate the cows, the calves, the chickens, the different dogs they had. And one of the greatest memories I have is, I had a full dairy barn where I would collect milk pails with my brother, Larry. I found one day that I made a loud noise and all the cows looked up to me.\u003c/p>\n\u003cp>So I did something like, “And now that I have your attention!” And they all looked up. And I walked down the center of that aisle with these cows looking at me and I said, “This is fantastic.” I must have been 8 years old … and I was the king of the cows.\u003c/p>\n\u003cp>\u003cstrong>On landing the role of Optimus Prime in the 1980s cartoon\u003c/strong>\u003c/p>\n\u003cp>I auditioned like everybody else. I was told it was a hero, and I was told it was a truck.\u003c/p>\n\u003cp>I was living with my brother Larry at the time. He had returned from service as a Marine in Vietnam, and I told him one day I was going out to audition for a truck.\u003c/p>\n\u003cp>And he says, “A truck?”\u003c/p>\n\u003cp>And I said, “Yeah, but he’s a \u003cem>hero\u003c/em> truck.”\u003c/p>\n\u003cp>“This is really good, Pete, yeah,” he said … “Well, if you’re going to be a hero, be a real hero. Don’t be a Hollywood stereotypical thing with the yelling and screaming.” He said, “Be strong enough to be gentle.” And Larry was that way.\u003c/p>\n\u003cp>I had no idea what the script was going to be. But in effect, the lines just came out, and I just did my brother, Larry.\u003c/p>\n\u003cp>\u003cstrong>On the characters he has most enjoyed playing\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10138541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Old-TRansformers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Old-TRansformers.jpg\" alt=\"Peter Cullen was the first actor to voice Optimus Prime, in the 1980s TV cartoon.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10138541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Old-TRansformers.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Old-TRansformers-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Old-TRansformers-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Cullen was the first actor to voice Optimus Prime, in the 1980s TV cartoon. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, Optimus Prime, No. 1. He’s my above-all favorite. The second one was Eeyore [from \u003cem>Winnie the Pooh\u003c/em>]. I enjoyed doing Eeyore because he was simply charming.\u003c/p>\n\u003cp>And I get an awful lot of reactions from, especially, young kids, when I go up and just say [in Eeyore’s voice], “Hello. Thanks for noticing me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And to see their faces light up, that to me is one of the great joys. \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=Behind+Optimus+Prime+%28And+Eeyore%29%2C+One+Man%27s+Signature+Voice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to NPR’s Arun Rath speak to voice actor Peter Cullen, the voice of Transformers’ Optimus Prime:\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/atc/2014/06/20140629_atc_behind_optimus_prime_and_eeyore_one_mans_signature_voice.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>Transformers: Age of Extinction\u003c/em> has smashed its way to the \u003ca href=\"http://variety.com/2014/film/news/box-office-transformers-age-of-extinction-rules-with-100-mil-1201254336/\" target=\"_blank\" rel=\"noopener\">No. 1 spot\u003c/a> at the box office. Director Michael Bay’s film franchise has consistently topped charts since the first film arrived in theaters in 2007.\u003c/p>\n\u003cp>The live-action films have embraced the latest in visual affects — but the movies have also called back to the series’ past, through the voice of Peter Cullen.\u003c/p>\n\u003cp>Cullen, 72, was the first actor to give voice to Optimus Prime — the leader of the Autobots, and the series’ metal, robotic heart — on the original \u003cem>Transformers\u003c/em> cartoon show in the 1980s. Other actors have played Optimus Prime in various iterations of \u003cem>Transformers\u003c/em> over the years, but Cullen happily returned to the role for the live-action film franchise.\u003c/p>\n\u003cfigure id=\"attachment_10138542\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/PEter-Cullen.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/PEter-Cullen.jpg\" alt=\"Voice actor Peter Cullen arrives at the premiere of Transformers: Revenge of the Fallen in June 2009.\" width=\"500\" height=\"500\" class=\"size-full wp-image-10138542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/PEter-Cullen-75x75.jpg 75w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Voice actor Peter Cullen arrives at the premiere of \u003cem>Transformers: Revenge of the Fallen\u003c/em> in June 2009. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview with NPR’s Arun Rath, Cullen says playing Optimus Prime again was “like slipping into an old pair of shoes that you hid in the back of your closet.”\u003c/p>\n\u003cp>Cullen got his big break as the announcer on \u003cem>The Sonny & Cher Comedy Hour\u003c/em>\u003cem> \u003c/em>in the early 1970s, and famously voiced Eeyore in \u003cem>Winnie the Pooh\u003c/em>. He tells Rath that of the many\u003cstrong> \u003c/strong>characters he has played over the years, a certain giant, extraterrestrial robot is still his favorite.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On when he realized he had a talent for doing voices\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I lived on a farm, and I worked the farm. And I remember the very first summer, I could imitate the cows, the calves, the chickens, the different dogs they had. And one of the greatest memories I have is, I had a full dairy barn where I would collect milk pails with my brother, Larry. I found one day that I made a loud noise and all the cows looked up to me.\u003c/p>\n\u003cp>So I did something like, “And now that I have your attention!” And they all looked up. And I walked down the center of that aisle with these cows looking at me and I said, “This is fantastic.” I must have been 8 years old … and I was the king of the cows.\u003c/p>\n\u003cp>\u003cstrong>On landing the role of Optimus Prime in the 1980s cartoon\u003c/strong>\u003c/p>\n\u003cp>I auditioned like everybody else. I was told it was a hero, and I was told it was a truck.\u003c/p>\n\u003cp>I was living with my brother Larry at the time. He had returned from service as a Marine in Vietnam, and I told him one day I was going out to audition for a truck.\u003c/p>\n\u003cp>And he says, “A truck?”\u003c/p>\n\u003cp>And I said, “Yeah, but he’s a \u003cem>hero\u003c/em> truck.”\u003c/p>\n\u003cp>“This is really good, Pete, yeah,” he said … “Well, if you’re going to be a hero, be a real hero. Don’t be a Hollywood stereotypical thing with the yelling and screaming.” He said, “Be strong enough to be gentle.” And Larry was that way.\u003c/p>\n\u003cp>I had no idea what the script was going to be. But in effect, the lines just came out, and I just did my brother, Larry.\u003c/p>\n\u003cp>\u003cstrong>On the characters he has most enjoyed playing\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10138541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Old-TRansformers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Old-TRansformers.jpg\" alt=\"Peter Cullen was the first actor to voice Optimus Prime, in the 1980s TV cartoon.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10138541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Old-TRansformers.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Old-TRansformers-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Old-TRansformers-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Peter Cullen was the first actor to voice Optimus Prime, in the 1980s TV cartoon. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, Optimus Prime, No. 1. He’s my above-all favorite. The second one was Eeyore [from \u003cem>Winnie the Pooh\u003c/em>]. I enjoyed doing Eeyore because he was simply charming.\u003c/p>\n\u003cp>And I get an awful lot of reactions from, especially, young kids, when I go up and just say [in Eeyore’s voice], “Hello. Thanks for noticing me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And to see their faces light up, that to me is one of the great joys. \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=Behind+Optimus+Prime+%28And+Eeyore%29%2C+One+Man%27s+Signature+Voice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“All things flow from the sacred engine…The engine is forever.” The passengers on the titular train in Bong Joon-ho’s grim, post-apocalyptic sci-fi tale essentially deify the locomotive that is their salvation. This “rattling ark” carries the last remainders of humanity, after an attempt to reverse global warming goes terribly awry, plunging the planet into an extinction-event deep freeze. Extinction for all but those on this endlessly circling, perpetual-motion-driven train that can’t stop, or else these few survivors will meet the same fate. When the movie begins, they’ve been running non-stop for 17 years.\u003c/p>\n\u003cp>There’s nothing subtle about the allegorical implications of this messianic express, nor any of the other metaphors piled up like the ice and snow the train blasts through relentlessly. For the survivors, this technological marvel has become a religion, and as such, dictates appropriate behavior for its acolytes – be they willing followers or not. Science and religion become blurred here, both flawed, but flawed via their filtration through humankind. Even near extinction, humanity finds ways to continue perpetuating cruel class systems and authoritarian oppression of the many to benefit the few.\u003c/p>\n\u003cp>So it is that those designated poor live in the tail of the train in absolute squalor, sleeping on top of one another and subsisting on gelantinous brown “protein blocks.” (The revelation of their contents, while not people, still packs a disgusting Soylent Green-style shock.) They’re regularly beaten, arbitrarily tortured, and punished to maintain order, As one moves up towards the front, there are cars for the sick, for prisoners, for water management and food production, eventually leading to opulence and drug-addled decadence up front.\u003c/p>\n\u003cp>http://youtu.be/nX5PwfEMBM0\u003c/p>\n\u003cp>Curtis (Chris Evans, in brooding, dangerous contrast to his Captain America performances) is a tail resident with a plan to upset the order of things, planning a car-by-car push forward to take control of the engine from its creator and the Snowpiercer’s de facto king — a mysterious, Oz-like figure called Wilford (Ed Harris). No need to follow the yellow brick road; there’s but one way from back to front, and Curtis has a small army of tail section comrades, as well as a trio of more vital misfit sidekicks: Gilliam (John Hurt), a wizened multiple amputee who acts as mentor; Namgoong (Bong regular Song Kang-ho), a sprung prisoner who can hotwire the doors between cars; and Edgar (Jamie Bell), a hot-headed youth with no memories of life before the train. Their nemesis: a wicked witch of a bureaucrat, Mason, played by Tilda Swinton with blackly comic vigor and a fearsome dental appliance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clownish comedy amid dire circumstances is a typical device for Bong, a director who delights in playing games within established genres, from a Godzilla-style monster movies (\u003cem>The Host\u003c/em>) to detective thrillers (\u003cem>Mother\u003c/em>). This foray into post-apocalyptic survival territory is the director’s first English-language feature, and it’s a pleasure to see many of his idiosyncrasies intact – even if he had to go through a much-publicized battle with The Weinstein Company to preserve his cut of the film.\u003c/p>\n\u003cp>That allows for rhythms that feel slightly off-kilter from those of an American action flick, with more attention paid to developing the unusual details of this hermetically sealed manufactured society, a lengthy conversational lead-up to the film’s climax, and characters that are far from stock — many even deeply strange, beyond just Tilda Swinton’s enhanced overbite. Thankfully, there is also no attempt to hold back for a PG-13 rating; Bong loves artful sprays of blood on train windows and a grisly hand-to-hand combat that feels like it has real impact. Whether or not everyone who dies here is named, no one dies anonymously or carelessly.\u003c/p>\n\u003cp>There’s some evidence of the film’s wild ambition slightly outstripping its grasp: the complexity of all the plot’s moving parts makes for some muddled details in the climactic moments, and the CGI of the train’s exteriors often comes off as extremely shoddy, as if money ran dry before the film got to the digital artists. But very little happens outside. The interior, meanwhile, is a triumph of design, first in the claustrophobic industrial nightmare of the rear of the train (John Hurt’s character’s name is likely no coincidence, as a great debt is owed to Terry Gilliam’s dystopic visions), and then in the mishmash of 20th and 21st century luxuries in the front.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Idea-heavy science fiction hasn’t exactly been burning up the box office lately with films like \u003cem>Edge of Tomorrow\u003c/em> and \u003cem>Transcendence\u003c/em>. \u003cem>Snowpiercer\u003c/em>‘s limited release isn’t going to do much to change that, but this is exactly the sort of ambitious, audacious, and uncompromising filmmaking that deserves to be seen. \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=The+Satisfying+Chill+Of+The+Audacious+%27Snowpiercer%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“All things flow from the sacred engine…The engine is forever.” The passengers on the titular train in Bong Joon-ho’s grim, post-apocalyptic sci-fi tale essentially deify the locomotive that is their salvation. This “rattling ark” carries the last remainders of humanity, after an attempt to reverse global warming goes terribly awry, plunging the planet into an extinction-event deep freeze. Extinction for all but those on this endlessly circling, perpetual-motion-driven train that can’t stop, or else these few survivors will meet the same fate. When the movie begins, they’ve been running non-stop for 17 years.\u003c/p>\n\u003cp>There’s nothing subtle about the allegorical implications of this messianic express, nor any of the other metaphors piled up like the ice and snow the train blasts through relentlessly. For the survivors, this technological marvel has become a religion, and as such, dictates appropriate behavior for its acolytes – be they willing followers or not. Science and religion become blurred here, both flawed, but flawed via their filtration through humankind. Even near extinction, humanity finds ways to continue perpetuating cruel class systems and authoritarian oppression of the many to benefit the few.\u003c/p>\n\u003cp>So it is that those designated poor live in the tail of the train in absolute squalor, sleeping on top of one another and subsisting on gelantinous brown “protein blocks.” (The revelation of their contents, while not people, still packs a disgusting Soylent Green-style shock.) They’re regularly beaten, arbitrarily tortured, and punished to maintain order, As one moves up towards the front, there are cars for the sick, for prisoners, for water management and food production, eventually leading to opulence and drug-addled decadence up front.\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/nX5PwfEMBM0'\n title='//www.youtube.com/embed/nX5PwfEMBM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Curtis (Chris Evans, in brooding, dangerous contrast to his Captain America performances) is a tail resident with a plan to upset the order of things, planning a car-by-car push forward to take control of the engine from its creator and the Snowpiercer’s de facto king — a mysterious, Oz-like figure called Wilford (Ed Harris). No need to follow the yellow brick road; there’s but one way from back to front, and Curtis has a small army of tail section comrades, as well as a trio of more vital misfit sidekicks: Gilliam (John Hurt), a wizened multiple amputee who acts as mentor; Namgoong (Bong regular Song Kang-ho), a sprung prisoner who can hotwire the doors between cars; and Edgar (Jamie Bell), a hot-headed youth with no memories of life before the train. Their nemesis: a wicked witch of a bureaucrat, Mason, played by Tilda Swinton with blackly comic vigor and a fearsome dental appliance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clownish comedy amid dire circumstances is a typical device for Bong, a director who delights in playing games within established genres, from a Godzilla-style monster movies (\u003cem>The Host\u003c/em>) to detective thrillers (\u003cem>Mother\u003c/em>). This foray into post-apocalyptic survival territory is the director’s first English-language feature, and it’s a pleasure to see many of his idiosyncrasies intact – even if he had to go through a much-publicized battle with The Weinstein Company to preserve his cut of the film.\u003c/p>\n\u003cp>That allows for rhythms that feel slightly off-kilter from those of an American action flick, with more attention paid to developing the unusual details of this hermetically sealed manufactured society, a lengthy conversational lead-up to the film’s climax, and characters that are far from stock — many even deeply strange, beyond just Tilda Swinton’s enhanced overbite. Thankfully, there is also no attempt to hold back for a PG-13 rating; Bong loves artful sprays of blood on train windows and a grisly hand-to-hand combat that feels like it has real impact. Whether or not everyone who dies here is named, no one dies anonymously or carelessly.\u003c/p>\n\u003cp>There’s some evidence of the film’s wild ambition slightly outstripping its grasp: the complexity of all the plot’s moving parts makes for some muddled details in the climactic moments, and the CGI of the train’s exteriors often comes off as extremely shoddy, as if money ran dry before the film got to the digital artists. But very little happens outside. The interior, meanwhile, is a triumph of design, first in the claustrophobic industrial nightmare of the rear of the train (John Hurt’s character’s name is likely no coincidence, as a great debt is owed to Terry Gilliam’s dystopic visions), and then in the mishmash of 20th and 21st century luxuries in the front.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Idea-heavy science fiction hasn’t exactly been burning up the box office lately with films like \u003cem>Edge of Tomorrow\u003c/em> and \u003cem>Transcendence\u003c/em>. \u003cem>Snowpiercer\u003c/em>‘s limited release isn’t going to do much to change that, but this is exactly the sort of ambitious, audacious, and uncompromising filmmaking that deserves to be seen. \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=The+Satisfying+Chill+Of+The+Audacious+%27Snowpiercer%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Third Person\u003c/em> announces itself in a messy tangle of people and locations, an unsolved Rubik’s cube of disparate lives waiting for a hand to start turning. There’s a harried woman running late for an appointment in New York. A stereotypical ugly American receiving a secretive envelope in Rome. A shapely woman changing clothes in a cab in Paris. A woman scared to jump in her pool, an artist teaching his son to finger-paint, and, most importantly, a Writer.\u003c/p>\n\u003cp>We know immediately that the latter is The Writer, because he sits in a dim room in front of a glowing computer screen, cigarette smoke lazily curling out of the ashtray in front of a bottle of booze, while he pops a couple of pills out of a prescription bottle. The setting is the answer to an unspoken challenge to fit as many movie-author stereotypes into one shot as possible.\u003c/p>\n\u003cp>Writer/director Paul Haggis has traveled similar territory before, in his Oscar-winning \u003cem>Crash\u003c/em>, giving us characters based around well-established types, who marginally intersect in service of conveying an Important Lesson. Where the former film takes on racism, \u003cem>Third Person\u003c/em> examines love, particularly as it relates to issues of betrayed trust, victimization and what happens when we catastrophically fail those we love and who love us.\u003c/p>\n\u003cp>http://youtu.be/0P3Ft14fSOM\u003c/p>\n\u003cp>There are three main stories at work here: In Paris, that writer, Michael (Liam Neeson), is plugging away with frustration on his new book when his mistress/protégé Anna (Olivia Wilde) comes to visit. In Rome, Sean (Adrien Brody) is a corporate spy who is drawn into a human trafficking/blackmail scheme by the mysterious Monika (Moran Atias). And in New York, a hotel maid (Mila Kunis) accused of attempting to kill her son fights with her artist ex (James Franco) to be able to visit the boy. In all of these barely intersecting stories there are either explicit or hinted references to lost or abused children, who are the catalysts for fractured adult relationships.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The scope may be far more intimate, but \u003cem>Third Person\u003c/em> is actually a much more ambitious film than \u003cem>Crash —\u003c/em> which also means it has that much farther to fall when it fails. That ambition is admirable, in that Haggis is experimenting with using a form already identified with him — that multithreaded narrative — and then using a twist of perspective to throw everything into an entirely new light. The problem is, the twist, such as it is, is telegraphed early and frequently.\u003c/p>\n\u003cp>That twist also provides the film structural excuses for characters who seem driven less by their own needs and more by the needs of their plots. That creates a mountain of implausible developments, like Sean’s rationally inexplicable desire to help Monika out of a jam that seems likely to be a scam, or a fairly nauseating reveal as to why Anna so enjoys involvements with married older men. It’s not that these things can’t happen, but they just feel obviously constructed. That’s a weakness that would otherwise be laid directly at the director’s feet, but the story has its own built-in explanation for these implausibilities that allows those criticisms to be easily deflected.\u003c/p>\n\u003cp>That explanation also provides a rationale for why the connections between these stories are extremely tenuous. But their lack of direct interaction is still a narrative problem: Without more direct interaction between the stories, it often just seems like aimless cross-cutting between barely related stories with a common theme. Haggis tries to match up similar moments in the stories to cut from one to the other, masking their disparities, but in the end the exercise feels tedious, particularly at a yawningly self-indulgent 137 minutes.\u003c/p>\n\u003cp>Figuring out the mystery early on will mean spending much of the film trying to convince yourself that’s not really where it’s headed. Not figuring it out will mean meeting the big reveal with the eye rolls that accompany “it was all a dream”-type conclusions. (No, it’s not a dream.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the film didn’t take its own intended profundity so seriously, it might get a pass. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Third Person\u003c/em> announces itself in a messy tangle of people and locations, an unsolved Rubik’s cube of disparate lives waiting for a hand to start turning. There’s a harried woman running late for an appointment in New York. A stereotypical ugly American receiving a secretive envelope in Rome. A shapely woman changing clothes in a cab in Paris. A woman scared to jump in her pool, an artist teaching his son to finger-paint, and, most importantly, a Writer.\u003c/p>\n\u003cp>We know immediately that the latter is The Writer, because he sits in a dim room in front of a glowing computer screen, cigarette smoke lazily curling out of the ashtray in front of a bottle of booze, while he pops a couple of pills out of a prescription bottle. The setting is the answer to an unspoken challenge to fit as many movie-author stereotypes into one shot as possible.\u003c/p>\n\u003cp>Writer/director Paul Haggis has traveled similar territory before, in his Oscar-winning \u003cem>Crash\u003c/em>, giving us characters based around well-established types, who marginally intersect in service of conveying an Important Lesson. Where the former film takes on racism, \u003cem>Third Person\u003c/em> examines love, particularly as it relates to issues of betrayed trust, victimization and what happens when we catastrophically fail those we love and who love us.\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/0P3Ft14fSOM'\n title='//www.youtube.com/embed/0P3Ft14fSOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are three main stories at work here: In Paris, that writer, Michael (Liam Neeson), is plugging away with frustration on his new book when his mistress/protégé Anna (Olivia Wilde) comes to visit. In Rome, Sean (Adrien Brody) is a corporate spy who is drawn into a human trafficking/blackmail scheme by the mysterious Monika (Moran Atias). And in New York, a hotel maid (Mila Kunis) accused of attempting to kill her son fights with her artist ex (James Franco) to be able to visit the boy. In all of these barely intersecting stories there are either explicit or hinted references to lost or abused children, who are the catalysts for fractured adult relationships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scope may be far more intimate, but \u003cem>Third Person\u003c/em> is actually a much more ambitious film than \u003cem>Crash —\u003c/em> which also means it has that much farther to fall when it fails. That ambition is admirable, in that Haggis is experimenting with using a form already identified with him — that multithreaded narrative — and then using a twist of perspective to throw everything into an entirely new light. The problem is, the twist, such as it is, is telegraphed early and frequently.\u003c/p>\n\u003cp>That twist also provides the film structural excuses for characters who seem driven less by their own needs and more by the needs of their plots. That creates a mountain of implausible developments, like Sean’s rationally inexplicable desire to help Monika out of a jam that seems likely to be a scam, or a fairly nauseating reveal as to why Anna so enjoys involvements with married older men. It’s not that these things can’t happen, but they just feel obviously constructed. That’s a weakness that would otherwise be laid directly at the director’s feet, but the story has its own built-in explanation for these implausibilities that allows those criticisms to be easily deflected.\u003c/p>\n\u003cp>That explanation also provides a rationale for why the connections between these stories are extremely tenuous. But their lack of direct interaction is still a narrative problem: Without more direct interaction between the stories, it often just seems like aimless cross-cutting between barely related stories with a common theme. Haggis tries to match up similar moments in the stories to cut from one to the other, masking their disparities, but in the end the exercise feels tedious, particularly at a yawningly self-indulgent 137 minutes.\u003c/p>\n\u003cp>Figuring out the mystery early on will mean spending much of the film trying to convince yourself that’s not really where it’s headed. Not figuring it out will mean meeting the big reveal with the eye rolls that accompany “it was all a dream”-type conclusions. (No, it’s not a dream.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the film didn’t take its own intended profundity so seriously, it might get a pass. But the numbing tastefulness of Dario Marianelli’s score combined with the dour and desperate faces the script demands of the cast 90 percent of the time just demonstrate that \u003cem>Third Person\u003c/em> has no intention of admitting how ridiculous it all really is, making this movie a puzzle that was better left unsolved. \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=Writer%2C+Wrong%3A+A+Complicated+Road+To+Nowhere+In+%27Third+Person%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first film to point a camera at the graffiti movement in New York City was \u003cem>Stations of the Elevated\u003c/em>, which debuted at the New York Film Festival in 1981.\u003c/p>\n\u003cp>The film hasn’t been seen much since, except by generations of graffiti fans and writers who watched it on VHS tapes. Now it’s being re-released on the big screen, with a showing Friday at the Brooklyn Academy of Music. It will hit screens around the country this fall.\u003c/p>\n\u003cp>\u003cem>Stations of the Elevated\u003c/em> is not a documentary in the usual sense. It’s only 45 minutes long; there’s no narrative and hardly any dialogue. The camera follows subway cars painted from top to bottom with vibrant graffiti compositions over a soundtrack of jazz by Charles Mingus.\u003c/p>\n\u003cp>One critic compared \u003cem>Stations\u003c/em> to a nature film, in which director Manny Kirchheimer stalks graffiti-covered subway cars in their native habitat.\u003c/p>\n\u003cp>“He went big-game hunting, and he caught the big game, you know?” says graffiti writer Lee Quinones, whose work is featured prominently in the film. He says there have been other movies about the art movement, including \u003cem>Style Wars, \u003c/em>but those came later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the first film of its kind that captured a beautiful golden age where a lot of these cars were being painted, and that urgency,” he says. “He was able to capture that, and way before the established art world even got a pulse that this was going on underneath their feet.”\u003c/p>\n\u003cp>Kirchheimer is not the guy you would expect to make a movie about graffiti. He was born in Germany and fled to New York with his parents in 1936. He was in his late 40s when he shot \u003cem>Stations of the Elevated\u003c/em> in 1977. He didn’t know anyone who wrote graffiti, and he’d never given it much thought.\u003c/p>\n\u003cp>“As a matter of fact, there was a great deal of graffiti around that I didn’t pay much attention to,” Kirchheimer says.\u003c/p>\n\u003cp>Then he found himself driving up to the Bronx early in the morning, and he saw the trains running overhead.\u003c/p>\n\u003cp>“They would come by and it would be screaming full of colors — just gorgeous,” he says. “The smart thing I did was shoot it all outdoors. Most of the lines are indoors, and the way most people see these paintings was indoors. Doing it outdoors gave a whole other perspective.”\u003c/p>\n\u003cp>It was a grittier time in New York’s history, when the city could barely afford to clean subway cars, inside or out. Most straphangers considered graffiti writers a nuisance, or worse. But Kirchheimer was focused on “elevating” their work, as the title of the film suggests.\u003c/p>\n\u003cp>“The genre, if there is one, is one that goes back to the beginning of cinema. That’s the city symphony,” says Jake Perlin, who is reissuing \u003cem>Stations of the Elevated\u003c/em> through his company, Artists Public Domain.\u003c/p>\n\u003cp>He says Kirchheimer also asked a profound moral question: “How does this artwork that was deemed illegal coexist in a city with advertising that is deemed legal [and] that is possibly more offensive?”\u003c/p>\n\u003cp>\u003cem>Stations of the Elevated\u003c/em> contrasts the painted subway cars with outdoor advertising on billboards — giant images of cigarettes, alcohol and semi-nude women. Artist Quinones says the film captures something essential about a moment in the history of the graffiti movement, and of New York City, which is long gone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s something really magical about when you see a train coming around a curve with a beautiful painting on it, and that painting is moving in more ways than that train is actually moving,” Quinones says. “It’s in and out, all over the place. And it’s mind-boggling. And that film captures that. It’s something majestic that I can’t even explain completely.” \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=After+Decades+On+VHS%2C+Graffiti%27s+Golden+Age+Returns+To+Big+Screen&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first film to point a camera at the graffiti movement in New York City was \u003cem>Stations of the Elevated\u003c/em>, which debuted at the New York Film Festival in 1981.\u003c/p>\n\u003cp>The film hasn’t been seen much since, except by generations of graffiti fans and writers who watched it on VHS tapes. Now it’s being re-released on the big screen, with a showing Friday at the Brooklyn Academy of Music. It will hit screens around the country this fall.\u003c/p>\n\u003cp>\u003cem>Stations of the Elevated\u003c/em> is not a documentary in the usual sense. It’s only 45 minutes long; there’s no narrative and hardly any dialogue. The camera follows subway cars painted from top to bottom with vibrant graffiti compositions over a soundtrack of jazz by Charles Mingus.\u003c/p>\n\u003cp>One critic compared \u003cem>Stations\u003c/em> to a nature film, in which director Manny Kirchheimer stalks graffiti-covered subway cars in their native habitat.\u003c/p>\n\u003cp>“He went big-game hunting, and he caught the big game, you know?” says graffiti writer Lee Quinones, whose work is featured prominently in the film. He says there have been other movies about the art movement, including \u003cem>Style Wars, \u003c/em>but those came later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Star Wars\u003c/em> creator George Lucas has chosen Chicago as the location of a planned museum of his art and movie memorabilia, snubbing San Francisco despite the push to build it adjacent to Crissy Field in the Presidio.\u003c/p>\n\u003cp>A spokesman for Chicago Mayor Rahm Emanuel says the \u003ca href=\"https://www.facebook.com/lucasculturalartsmuseum\" target=\"_blank\" rel=\"noopener\">Lucas Cultural Arts Museum\u003c/a> will be built in the Windy City.\u003c/p>\n\u003cp>The Associated Press says: “It was unclear for weeks whether Chicago or San Francisco would be selected. Some people thought Chicago might have the upper hand because Lucas’ wife is from Chicago and because of Emanuel’s powers of persuasion. But Lucas is a California native, his visual effects division is based in San Francisco and the headquarters for LucasFilm and Skywalker Sound is in nearby Marin County.”\u003c/p>\n\u003cfigure id=\"attachment_10138271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/LucasMuseum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/LucasMuseum.jpg\" alt=\"Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. The body governing the former Army base has rejected the museum and two other proposals.\" width=\"800\" height=\"442\" class=\"size-full wp-image-10138271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum-300x165.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum-672x372.jpg 672w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. The body governing the former Army base has rejected the museum and two other proposals. \u003ccite>(Photo: Lucas Cultural Art Museum presentation, January 2014))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://politics.suntimes.com/article/chicago/sneed-exclusive-chicago-get-george-lucas-museum/tue-06242014-346pm-1\" target=\"_blank\" rel=\"noopener\">The Sun-Times describes the museum as a $1 billion investment\u003c/a> and \u003cem>Chicago Business\u003c/em> says, quoting a task force set up by Emanuel to study the project, it “would \u003ca href=\"http://www.chicagobusiness.com/article/20140624/NEWS09/140629914/chicago-to-get-george-lucas-museum\" target=\"_blank\" rel=\"noopener\">generate between $2 billion and $2.5 billion\u003c/a> of additional tourist spending and significant tax revenue over ten years.”\u003c/p>\n\u003cp>Back in March of 2013, Lucas announced plans to build the center. Although it’s being described as the “\u003cem>Star Wars\u003c/em> museum,” \u003ca href=\"http://www.chicagobusiness.com/article/20140410/BLOGS03/140419998/george-lucas-eyeing-chicago-for-museum-after-san-francisco-snubbed-him\" target=\"_blank\" rel=\"noopener\">Lucas says the facility would feature, among other things, a wide selection of populist art he owns\u003c/a>, including “a number of Norman Rockwell paintings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I don’t have enough walls, which is why I want to build a museum,” Lucas told \u003cem>The San Francisco Chronicle\u003c/em> in March.\u003c/p>\n\u003cp>The AP says:\u003c/p>\n\u003cblockquote>\n\u003cp>“The city offered up a slice of real estate along the Lake Michigan shore that is near other attractions, including the Shedd Aquarium and the Field Museum of Natural History. At the same time, San Francisco suffered a setback when the city rejected Lucas’ first choice of a location near the Golden Gate Bridge.\u003c/p>\n\u003cp>“Emanuel has long been trying to portray Chicago as a global destination, and throughout the decision process, a spokesman for Lucas praised Chicago for the attention it heaps on culture, architecture, innovations and education — some of which are the themes Lucas’ museum will seek to promote.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Read more of KQED’s coverage of the plans for the \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\" rel=\"noopener\">Lucas Museum at KQED’s News Fix.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Kevin Jones contributed to this article.\u003c/i>\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=%27Star+Wars%27+Museum+Lands+In+Chicago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Star Wars\u003c/em> creator George Lucas has chosen Chicago as the location of a planned museum of his art and movie memorabilia, snubbing San Francisco despite the push to build it adjacent to Crissy Field in the Presidio.\u003c/p>\n\u003cp>A spokesman for Chicago Mayor Rahm Emanuel says the \u003ca href=\"https://www.facebook.com/lucasculturalartsmuseum\" target=\"_blank\" rel=\"noopener\">Lucas Cultural Arts Museum\u003c/a> will be built in the Windy City.\u003c/p>\n\u003cp>The Associated Press says: “It was unclear for weeks whether Chicago or San Francisco would be selected. Some people thought Chicago might have the upper hand because Lucas’ wife is from Chicago and because of Emanuel’s powers of persuasion. But Lucas is a California native, his visual effects division is based in San Francisco and the headquarters for LucasFilm and Skywalker Sound is in nearby Marin County.”\u003c/p>\n\u003cfigure id=\"attachment_10138271\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/LucasMuseum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/LucasMuseum.jpg\" alt=\"Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. The body governing the former Army base has rejected the museum and two other proposals.\" width=\"800\" height=\"442\" class=\"size-full wp-image-10138271\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum-300x165.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/LucasMuseum-672x372.jpg 672w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artist’s rendering of proposed Lucas Cultural Arts Museum in San Francisco’s Presidio. The body governing the former Army base has rejected the museum and two other proposals. \u003ccite>(Photo: Lucas Cultural Art Museum presentation, January 2014))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://politics.suntimes.com/article/chicago/sneed-exclusive-chicago-get-george-lucas-museum/tue-06242014-346pm-1\" target=\"_blank\" rel=\"noopener\">The Sun-Times describes the museum as a $1 billion investment\u003c/a> and \u003cem>Chicago Business\u003c/em> says, quoting a task force set up by Emanuel to study the project, it “would \u003ca href=\"http://www.chicagobusiness.com/article/20140624/NEWS09/140629914/chicago-to-get-george-lucas-museum\" target=\"_blank\" rel=\"noopener\">generate between $2 billion and $2.5 billion\u003c/a> of additional tourist spending and significant tax revenue over ten years.”\u003c/p>\n\u003cp>Back in March of 2013, Lucas announced plans to build the center. Although it’s being described as the “\u003cem>Star Wars\u003c/em> museum,” \u003ca href=\"http://www.chicagobusiness.com/article/20140410/BLOGS03/140419998/george-lucas-eyeing-chicago-for-museum-after-san-francisco-snubbed-him\" target=\"_blank\" rel=\"noopener\">Lucas says the facility would feature, among other things, a wide selection of populist art he owns\u003c/a>, including “a number of Norman Rockwell paintings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t have enough walls, which is why I want to build a museum,” Lucas told \u003cem>The San Francisco Chronicle\u003c/em> in March.\u003c/p>\n\u003cp>The AP says:\u003c/p>\n\u003cblockquote>\n\u003cp>“The city offered up a slice of real estate along the Lake Michigan shore that is near other attractions, including the Shedd Aquarium and the Field Museum of Natural History. At the same time, San Francisco suffered a setback when the city rejected Lucas’ first choice of a location near the Golden Gate Bridge.\u003c/p>\n\u003cp>“Emanuel has long been trying to portray Chicago as a global destination, and throughout the decision process, a spokesman for Lucas praised Chicago for the attention it heaps on culture, architecture, innovations and education — some of which are the themes Lucas’ museum will seek to promote.”\n\u003c/p>\u003c/blockquote>\n\u003cp>Read more of KQED’s coverage of the plans for the \u003ca href=\"http://ww2.kqed.org/news/2014/06/24/george-lucas-art-museum-headed-for-chicago\" target=\"_blank\" rel=\"noopener\">Lucas Museum at KQED’s News Fix.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>KQED’s Kevin Jones contributed to this article.\u003c/i>\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=%27Star+Wars%27+Museum+Lands+In+Chicago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Film director David Wain’s work has always been hard to describe. In some ways, it’s straight-up spoof: His most famous film, \u003cem>Wet Hot American Summer\u003c/em>, lampooned the summer camp films of the 1980s; and his more recent TV show, \u003cem>Childrens Hospital\u003c/em>, sends up shows like \u003cem>Grey’s Anatomy\u003c/em>, where the female lead is living inside an inner monologue.\u003c/p>\n\u003cp>Now, Wain’s newest film, \u003cem>They Came Together\u003c/em>, takes on the genre of rom-coms. But even he has a hard time describing it. He tells NPR’s Rachel Martin, “One very shorthand way I’ve come up with is to say it’s a purposefully dumb romantic comedy, or a purposefully terrible romantic comedy. But that could really scare people away, so I don’t want to say that. … Another way to say that is it’s a grand, huge, funny, crazy spoof movie in the tradition of movies like \u003cem>Airplane\u003c/em>.”\u003c/p>\n\u003cp>Wain tells Martin about his feelings toward rom-coms, brazenly copying from \u003cem>You’ve Got Mail, \u003c/em>and the most divisive scene in his new film.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On whether there’s a part of him that likes romantic comedies\u003c/strong>\u003c/p>\n\u003cp>There’s all of me that absolutely loves, loves, loves rom-coms. It’s probably my favorite genre of movies. … So many of my favorite movies are rom-coms of sorts, whether it’s all the Woody Allen movies or \u003cem>Tootsie\u003c/em> or \u003cem>The Graduate\u003c/em>. And then, when you get to understand something really well, you also find all the flaws, and that’s a lot of what we’re having fun with in this movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On the parallels between Wain’s film and \u003cem>You’ve Got Mail\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the main through lines we just brazenly lifted from \u003cem>You’ve Got Mail\u003c/em>. Amy Poehler plays the quirky, you know, independent candy store owner. And then Paul Rudd is an executive at the huge, corporate Candy Systems and Research, and they’re gonna take her down. But then they meet otherwise. So it is like \u003cem>You’ve Got Mail\u003c/em> in that way, but the truth is that the story is so beside the point. If you talk about this movie by talking about the storyline, then you’ve missed the point.\u003c/p>\n\u003cp>\u003cstrong>On the layers of jokes in the film’s basketball scene\u003c/strong>\u003c/p>\n\u003cp>Well, there’s so much going on, actually. [It’s] Paul Rudd playing basketball in the local playground with his friends after work. And, you know, we feel like [in] every rom-com the guy always has this random group of best friends who he does some big sport with — usually it’s basketball — and they have real discussions while also playing basketball at the same time.\u003c/p>\n\u003cp>People never just talk; they have to be doing something.\u003c/p>\n\u003cp>And then, of course, each of his friends is a “type.” So you have the sort of wistful poet, and then the sex-crazed, you know, Lothario. And of course, the visual of it … is that every time they shoot the ball and Ken Marino says “swish,” the ball goes not even close to the net. Like, [it] doesn’t even go within 5 feet of the net.\u003c/p>\n\u003cp>So it’s actually a good example of every scene in our movie filled with like four or five different layers of jokes.\u003c/p>\n\u003cp>\u003cstrong>On the scene in which Rudd’s character, who is depressed about his relationship problems, has a conversation with a bartender\u003c/strong>\u003c/p>\n\u003cp>Well, the bartender says, “Hard Day, huh?”\u003c/p>\n\u003cp>[Rudd] says, “Yeah, you can say that again.”\u003c/p>\n\u003cp>And so the bartender says it again.\u003c/p>\n\u003cp>\u003cem>[Bartender: “Well, you came in here looking like crap and you haven’t said very much.”\u003c/em> \u003cem>Rudd: “Tell me about it.”\u003c/em> \u003cem>Bartender: “You came in here looking like crap and you haven’t said very much.”\u003c/em> \u003cem>Rudd: “Yeah, you can say that again.”]\u003c/em>\u003c/p>\n\u003cp>Paul Rudd keep[s] repeating, back and forth, “You can say that again” and “Tell me about it,” which then causes the bartender to not only say the exact same thing — we actually just splice in the exact same footage of the bartender’s response over and over. … It’s just literally on a loop. …\u003c/p>\n\u003cp>It’s interesting because I know that in screenings, pretty much every time, what happens is people start laughing, then they get annoyed and stop laughing. Then it keeps going and they start laughing all the harder, and it becomes, for many, the favorite scene of the movie because they’re like: I can’t believe you actually did that. But even in our test screenings, it was one — and this happens in every movie — there’s always that one scene that is at the top of both lists of what was the audience’s favorite scene and what was the audience’s least favorite scene.\u003c/p>\n\u003cp>\u003cstrong>On whether the scene’s distinction as the audience’s favorite and least favorite scene pleases him\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It does. It means that there’s passion. And I’ve always felt that way. And most of the work that I have done over my career has been that. … It’s their favorite thing, or they really hated it. And the middle ground is not so much what we get, and I’m very happy with that. \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=+%27They+Came+Together%27+Is+A+Terrible+Rom-Com+On+Purpose&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Film director David Wain’s work has always been hard to describe. In some ways, it’s straight-up spoof: His most famous film, \u003cem>Wet Hot American Summer\u003c/em>, lampooned the summer camp films of the 1980s; and his more recent TV show, \u003cem>Childrens Hospital\u003c/em>, sends up shows like \u003cem>Grey’s Anatomy\u003c/em>, where the female lead is living inside an inner monologue.\u003c/p>\n\u003cp>Now, Wain’s newest film, \u003cem>They Came Together\u003c/em>, takes on the genre of rom-coms. But even he has a hard time describing it. He tells NPR’s Rachel Martin, “One very shorthand way I’ve come up with is to say it’s a purposefully dumb romantic comedy, or a purposefully terrible romantic comedy. But that could really scare people away, so I don’t want to say that. … Another way to say that is it’s a grand, huge, funny, crazy spoof movie in the tradition of movies like \u003cem>Airplane\u003c/em>.”\u003c/p>\n\u003cp>Wain tells Martin about his feelings toward rom-coms, brazenly copying from \u003cem>You’ve Got Mail, \u003c/em>and the most divisive scene in his new film.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On whether there’s a part of him that likes romantic comedies\u003c/strong>\u003c/p>\n\u003cp>There’s all of me that absolutely loves, loves, loves rom-coms. It’s probably my favorite genre of movies. … So many of my favorite movies are rom-coms of sorts, whether it’s all the Woody Allen movies or \u003cem>Tootsie\u003c/em> or \u003cem>The Graduate\u003c/em>. And then, when you get to understand something really well, you also find all the flaws, and that’s a lot of what we’re having fun with in this movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For the final credits of \u003cem>Jersey Boys\u003c/em>, director Clint Eastwood sends the whole cast into a backlot street to dance to the Four Seasons’ most recent chart-topper, 1976’s “December, 1963 (Oh, What a Night).” \u003cem>Hmmm\u003c/em>, the confused viewer might wonder, \u003cem>perhaps this is supposed to be a musical\u003c/em>….\u003c/p>\n\u003cp>The movie is, of course, derived from the long-running Broadway hit, and includes numerous Four Seasons songs. But this adaptation, as reworked by original writers Marshall Brickman and Rick Elice, adds dialogue and subtracts music. Large sections are devoted to the drama of making it, or of keeping it after initial success.\u003c/p>\n\u003cp>Eastwood may not be the project’s ideal director. He’s known for working quickly, which could explain why parts of \u003cem>Jersey Boys\u003c/em> feel undercooked. (The rear projection in car scenes is particularly cheesy.) But the movie is engagingly lively, if not always graceful, and often surprisingly comic.\u003c/p>\n\u003cp>http://youtu.be/tL2iILHUsG0\u003c/p>\n\u003cp>The laughs can be incongruous, since the backstory is grim: Future Four Seasons Tommy DeVito (Vincent Piazza), Nick Massi (Michael Lomenda) and Frankie Castelluccio (John Lloyd Young) are inept small-time criminals in a crummy Newark suburb. They’re under the protection of a local mob boss (Christopher Walken), a devotee of sentimental ballads, although that doesn’t keep Tommy and Nick from doing time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Such hits as “Walk Like A Man” arrive after Castelluccio renames himself Valli, songwriting prodigy Bob Gaudio (Erich Bergen) joins the lineup and veteran producer Bob Crewe (Mike Doyle, teetering on the edge of gay caricature) plumps the arrangements. Crewe and Gaudio are also Jersey boys, although the latter is suspect because he’s from the right side of tracks. (Another local, future tough-guy actor Joe Pesci, plays an amusing role in all this.)\u003c/p>\n\u003cp>Top 40 triumph is scarred by a broken marriage, a fatal drug overdose and massive embezzlement, among other woes. Some of these developments are foreshadowed; others just pop up, as if inserted carelessly from a much longer cut.\u003c/p>\n\u003cp>The stage musical was divided into four chapters, each narrated by a different Season. The movie keeps that device, but scatters each member’s commentary throughout the story. You never know when Frankie, Bob, Tommy or Nick will turn to the camera and start talking to the viewer.\u003c/p>\n\u003cp>Such direct address is a little jarring, since the movie often aspires to naturalism. Eastwood includes enough f-words to guarantee an R-rating for a movie about G-rated pop, and deploys careful period details and sepia-tinted images to evoke the days before day-glo.\u003c/p>\n\u003cp>And when was that? Onscreen dates identify early scenes as happening in the 1950s, but most of the story occurs out of time. Aside from an appearance by the Angels, who sing their pre-Beatles “My Boyfriend’s Back,” there’s little sense of context, either social or musical.\u003c/p>\n\u003cp>By the time the Seasons released “Rag Doll” in 1964, they occupied the same universe as Motown, Bob Dylan and the British Invasion. Yet the movie never hints that the group’s doo-wop style had become dated. Still, the fact that the Seasons were older than their Top 40 competitors suits the cast, some of whom have a couple of decades on the teenagers they initially play.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although \u003cem>Jersey Boys\u003c/em> rarely presents an entire Four Seasons number without interruption, the music does propel the movie. The group was known for martial drumbeats as well as Valli’s stratospheric falsetto, and the songs still have juice, even when presented in snippets or as background music. But they may not pack enough Jersey swagger to attract moviegoers whose earliest pop memories are of Katy Perry or Justin Bieber. \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=You%27re+A+Little+Flat%2C+%27Boys%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>A short time ago, in a city not far away, \u003cem>Star Wars\u003c/em> creator George Lucas decided to build a museum to house his movie memorabilia and his art collection.\u003c/p>\n\u003cp>There’s just one looming question: Where should it go?\u003c/p>\n\u003cp>Lucas says he’ll spend $300 million of his own money to build the proposed Lucas Cultural Arts Museum and will provide a $400 million endowment after his death. In addition to holding Skywalker artifacts galore, the museum would also host Lucas’ private art collection, featuring works by Norman Rockwell and N.C. Wyeth, among others.\u003c/p>\n\u003cp>But after Lucas’ original planned location fell through, it’s not clear where the museum will be located. San Francisco and Chicago are both trying to win the right to host the museum, and Los Angeles just entered the fray as well.\u003c/p>\n\u003cp>\u003cstrong>San Francisco: ‘It Is Our History’\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story begins in San Francisco, not far from Skywalker Ranch, Lucas’ moviemaking center in Marin County.\u003c/p>\n\u003cp>Lucas originally wanted to build his museum in the San Francisco Presidio — a federal park near the Golden Gate Bridge. But park officials rejected that idea.\u003c/p>\n\u003cp>Now San Francisco officials are scrambling, trying to persuade Lucas to consider another site. They’re offering a scenic waterfront location along the Embarcadero, the road that runs along the San Francisco Bay.\u003c/p>\n\u003cp>Mayor Ed Lee points to the area’s \u003cem>Star Wars\u003c/em> history to explain why the city wants to persuade Lucas to stay in the region. Lucas’ ranch is nearby, and the Letterman Digital Arts Center, LucasFilm’s headquarters, is located in the city.\u003c/p>\n\u003cp>“Digital Arts, through George Lucas’ wonderful works, started here,” Lee says. “To have that museum right here under his name would be a wonderful tribute to that. It is our history, and that’s why we want George to be here.”\u003c/p>\n\u003cp>But Lee knows that first rejection, of the Presidio location, opened the door to competition.\u003c/p>\n\u003cp>\u003cstrong>Chicago: Lucas’ Second Home\u003c/strong>\u003c/p>\n\u003cp>In Chicago, city leaders say they’re up to the fight to bring the Lucas Museum to \u003cem>their \u003c/em>city. Kurt Summers, co-chairman of the task force that Chicago Mayor Rahm Emanuel directed to find a location for the museum, casts the struggle in familiar terms — like the dark side of the Force against the light.\u003c/p>\n\u003cp>“We are the protagonist in sort of a good versus evil,” Summers says. It’s not hard to imagine whom he sees as the Evil Empire. “We engaged fully … and that created real competition. The result of that [is] we saw San Francisco step up its game as well.”\u003c/p>\n\u003cp>The potential home of the Lucas Museum is near Chicago’s lakefront, on the city’s Museum Campus. The city would convert 17 acres that are currently home to two parking lots behind Soldier Field, the stadium home of the Chicago Bears.\u003c/p>\n\u003cp>Chicago would lease the land to Lucas for $1. City officials believe adding his museum to the Field Museum of Natural History, the Shedd Aquarium and the Adler Planetarium on the campus would bring in a couple of million additional visitors to the city each year, along with millions in tourist and tax revenue.\u003c/p>\n\u003cp>Lucas calls Chicago his second home, and he’s married to influential Chicago businesswoman Mellody Hobson. That’s a plus, says Summers, who believes that while San Francisco might once have had home field advantage, Chicago has a very compelling case.\u003c/p>\n\u003cp>Summers says he’s not talking smack. But he does have a message: “I believe the Force is with us.”\u003c/p>\n\u003cp>San Francisco would say the same thing. And so would Los Angeles, which has offered a museum-campus plan like Chicago’s, at the site of the Los Angeles Memorial Sports Arena in the city’s Exposition Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the small Jedi Yoda would say, “Impossible to see, the future is” — until the decision, which is expected sometime this summer. \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=Never+Tell+Them+The+Odds%3A+Cities+Vie+To+Host+%27Star+Wars%27+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Star Wars\u003c/em> creator George Lucas wants to build a museum full of movie memorabilia and fine art. But where? Both his hometown of San Francisco and Chicago, his \"second home,\" are vying for it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A short time ago, in a city not far away, \u003cem>Star Wars\u003c/em> creator George Lucas decided to build a museum to house his movie memorabilia and his art collection.\u003c/p>\n\u003cp>There’s just one looming question: Where should it go?\u003c/p>\n\u003cp>Lucas says he’ll spend $300 million of his own money to build the proposed Lucas Cultural Arts Museum and will provide a $400 million endowment after his death. In addition to holding Skywalker artifacts galore, the museum would also host Lucas’ private art collection, featuring works by Norman Rockwell and N.C. Wyeth, among others.\u003c/p>\n\u003cp>But after Lucas’ original planned location fell through, it’s not clear where the museum will be located. San Francisco and Chicago are both trying to win the right to host the museum, and Los Angeles just entered the fray as well.\u003c/p>\n\u003cp>\u003cstrong>San Francisco: ‘It Is Our History’\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story begins in San Francisco, not far from Skywalker Ranch, Lucas’ moviemaking center in Marin County.\u003c/p>\n\u003cp>Lucas originally wanted to build his museum in the San Francisco Presidio — a federal park near the Golden Gate Bridge. But park officials rejected that idea.\u003c/p>\n\u003cp>Now San Francisco officials are scrambling, trying to persuade Lucas to consider another site. They’re offering a scenic waterfront location along the Embarcadero, the road that runs along the San Francisco Bay.\u003c/p>\n\u003cp>Mayor Ed Lee points to the area’s \u003cem>Star Wars\u003c/em> history to explain why the city wants to persuade Lucas to stay in the region. Lucas’ ranch is nearby, and the Letterman Digital Arts Center, LucasFilm’s headquarters, is located in the city.\u003c/p>\n\u003cp>“Digital Arts, through George Lucas’ wonderful works, started here,” Lee says. “To have that museum right here under his name would be a wonderful tribute to that. It is our history, and that’s why we want George to be here.”\u003c/p>\n\u003cp>But Lee knows that first rejection, of the Presidio location, opened the door to competition.\u003c/p>\n\u003cp>\u003cstrong>Chicago: Lucas’ Second Home\u003c/strong>\u003c/p>\n\u003cp>In Chicago, city leaders say they’re up to the fight to bring the Lucas Museum to \u003cem>their \u003c/em>city. Kurt Summers, co-chairman of the task force that Chicago Mayor Rahm Emanuel directed to find a location for the museum, casts the struggle in familiar terms — like the dark side of the Force against the light.\u003c/p>\n\u003cp>“We are the protagonist in sort of a good versus evil,” Summers says. It’s not hard to imagine whom he sees as the Evil Empire. “We engaged fully … and that created real competition. The result of that [is] we saw San Francisco step up its game as well.”\u003c/p>\n\u003cp>The potential home of the Lucas Museum is near Chicago’s lakefront, on the city’s Museum Campus. The city would convert 17 acres that are currently home to two parking lots behind Soldier Field, the stadium home of the Chicago Bears.\u003c/p>\n\u003cp>Chicago would lease the land to Lucas for $1. City officials believe adding his museum to the Field Museum of Natural History, the Shedd Aquarium and the Adler Planetarium on the campus would bring in a couple of million additional visitors to the city each year, along with millions in tourist and tax revenue.\u003c/p>\n\u003cp>Lucas calls Chicago his second home, and he’s married to influential Chicago businesswoman Mellody Hobson. That’s a plus, says Summers, who believes that while San Francisco might once have had home field advantage, Chicago has a very compelling case.\u003c/p>\n\u003cp>Summers says he’s not talking smack. But he does have a message: “I believe the Force is with us.”\u003c/p>\n\u003cp>San Francisco would say the same thing. And so would Los Angeles, which has offered a museum-campus plan like Chicago’s, at the site of the Los Angeles Memorial Sports Arena in the city’s Exposition Park.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the small Jedi Yoda would say, “Impossible to see, the future is” — until the decision, which is expected sometime this summer. \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=Never+Tell+Them+The+Odds%3A+Cities+Vie+To+Host+%27Star+Wars%27+Collection&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On a Trans-mission at Frameline 38",
"headTitle": "On a Trans-mission at Frameline 38 | KQED",
"content": "\u003cp>Recent controversy surrounding the use of perceived \u003ca href=\"http://www.advocate.com/politics/transgender/2014/03/18/rupaul-stokes-anger-use-transphobic-slur\" target=\"_blank\" rel=\"noopener\">trans-phobic slurs on \u003ci>RuPaul’s Drag Race\u003c/i>\u003c/a> and Heklina’s \u003ca href=\"http://sfist.com/2014/05/23/exclusive_sfist_talks_with_heklina.php\" target=\"_blank\" rel=\"noopener\">rebranding of Trannyshack\u003c/a>, the multi-city drag show she has been producing for the last 18 years, sparked an internal debate over the power of language. The argument quickly splintered into various threads about regulating speech, understanding the contexts in which certain words are used, and who can claim the right to use such words (the re-appropriations of queer, fag and the N-word come immediately to mind), especially when these words can be perceived as hurtful or even hateful.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-desc\">\nFrameline is the oldest LGBT film festival in the world and a local treasure, serving up images of queer life from around the globe since 1977. Over the next 11 days, the festival will screen 214 films originating from 31 countries in 102 programs at various Bay Area locations. For \u003ca href=\"http://ticketing.frameline.org/festival/?FID=51\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit frameline.org.\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 19-29, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro, Roxie and Victoria Theaters in San Francisco;\u003cbr>\nRialto Cinemas Elmwood in Berkeley\u003cbr>\n\u003ca href=\"http://www.frameline.org/blog/2014/05/27/frameline38-app\" target=\"_blank\" rel=\"noopener\">Get the Festival App\u003c/a>\u003c/div>\n\n\u003cp>Coming quickly on the (high) heels of this colorful exchange, the 38th edition of the San Francisco International LGBT Film Festival (now commonly known as Frameline) starts tonight at the Castro Theater in San Francisco — and not a minute too soon. What better place to reflect on these issues? Viewing images of the multiple facets of LGBTQ (XYZ) life from around the world play out onscreen in the company of one’s peers is what has always been so empowering about the festival. Seeing how people from different cultures grapple with similar issues provides us with the opportunity to put these conversations into a much wider context. \u003c/p>\n\u003cfigure id=\"attachment_10137942\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/blackisblue.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/blackisblue.jpg\" alt=\"Black is Blue\" width=\"640\" height=\"427\" class=\"size-full wp-image-10137942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/blackisblue.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/blackisblue-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/blackisblue-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s \u003ci>Black Is Blue\u003c/i>, featured \u003cb>In the City of Shy Hunters\u003c/b> program\u003c/figcaption>\u003c/figure>\n\u003cp>Though they are not called out within the festival’s press materials, I counted at least 11 feature-length narratives and documentaries and two shorts programs (\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3182&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>In the City of Shy Hunters\u003c/b>\u003c/a> and \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3163&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>Transtastic!\u003c/b>\u003c/a>) featuring prominent trans characters — and set about watching them. One thing I found refreshing about the group is that they were definitely more engaging than most of the gay-male or lesbian-centered films I have seen in recent years, which have become increasingly formulaic. The once-revitalizing addition of queer elements has grown a little stale, revealing an all-too-familiar set of film conventions. \u003c/p>\n\u003cp>True to the their two-spirit, Frameline’s trans selections follow a third path. Sure, the characters struggle with complex realities, but their struggles are less about self-acceptance, and more with the way others attempt to limit and define them. \u003c/p>\n\u003cfigure id=\"attachment_10137943\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boymeetsgirl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boymeetsgirl.jpg\" alt=\"Boy Meets Girl\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boymeetsgirl.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boymeetsgirl-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boymeetsgirl-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boy Meets Girl\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two narratives tied for my favorite in the bunch. The first, \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3099&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Boy Meets Girl\u003c/i>\u003c/b>\u003c/a>, couldn’t be sweeter. As the title implies, Eric Schaeffer’s movie is really just a simple love story featuring probably the most adorable cast you will see in ANY film this year. \u003ci>Boy Meets Girl\u003c/i> is anchored by trans-woman \u003ca href=\"http://theheroines.blogspot.com/2013/12/interview-with-michelle-hendley.html\">Michelle Hendley\u003c/a>‘s charming and open-hearted performance as Ricky, a 21-year-old who works in a small-town coffee shop in Kentucky, but dreams of moving to New York and becoming a fashion designer. She spends most of her time with Robby (Michael Welch, \u003ci>Twilight\u003c/i>), her best boy friend, who has remained steadfast during her transition from cute little boy to beautiful young woman. Complications ensue when Ricky and a local debutante develop a (very) close friendship, which confuses everyone but Ricky. \u003c/p>\n\u003cfigure id=\"attachment_10137944\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/openup.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/openup.jpg\" alt=\"Open Up to Me\" width=\"640\" height=\"278\" class=\"size-full wp-image-10137944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/openup.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/openup-400x173.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/openup-300x130.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Open Up to Me\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Just across the globe but seemingly light years away from small-town Kentucky, Finnish director Simo Halinen’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3223&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Open Up to Me\u003c/i>\u003c/b>\u003c/a> follows Maarit (Leea Klemola) as she attempts to put her life back together after completing the transition from man to woman. Mistaken for a prominent psychotherapist, whose office she is supposed to be cleaning, Maarit uses her education and background in social work to counsel Sami (Peter Franzén), a handsome soccer coach who is struggling in a difficult marriage. There is some serious chemistry between Franzén and Klemola, which the film attributes to Maarit’s former identity as a pro soccer player. To say that things get complicated would be an understatement, but they never go over the top. Against Finland’s wintry landscape a simple story unfolds about people trying to make their way in a confusing world. \u003c/p>\n\u003cp>One recurring theme pops up: Identity is fluid, and none of the characters understand this as intimately as the trans characters do. In fact, gender is almost less stable than personality in these films, though this is perplexing to people who cling to order even after it’s been revealed to be an illusion. The world is a much harder place to handle when things are in flux — and people aren’t easily identifiable.\u003c/p>\n\u003cp>Side note (trust me, it’s related): I teach a film class at a local university. Delicately approaching the subject of personal pronouns, I was informed that one of my students would rather be referred to as “it,” instead of “he” or “she.” I had never heard this before, but I always struggle with the possibility of offending when it comes to the use of personal pronouns in situations like these. When I relayed this experience to a friend, she thought it sounded “dehumanizing” to call someone “it.” How limiting. I thought it sounded kind of fun; I’ve always felt more like an “it” myself. Why should the gendered forms be considered more “human,” especially to someone who identifies with neither — or both? \u003c/p>\n\u003cfigure id=\"attachment_10137945\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/drunktown.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/drunktown.jpg\" alt=\"Drunktown's Finest\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/drunktown.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/drunktown-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/drunktown-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Drunktown’s Finest\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>This formulation is actually explored structurally in Sydney Freeland’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3314&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Drunktown’s Finest\u003c/i>\u003c/b>\u003c/a>. The film begins in the rough; three Native American characters do their best to navigate a scrabbly, hard-knock life in the middle of the New Mexican desert. Expectant father Sick Boy needs to stay out of trouble long enough to join the army, where he hopes to secure a regular paycheck to support his family. Nizhoni is back visiting her white adoptive parents for the summer, racking up community service hours to secure a college scholarship, and using the opportunity to seek out her birth family. Felixia is trying out for a slot in a “Women of the Navajo” calendar, while also trolling “Tranny” sex sites for a hook up. As Felixia’s grandfather, the local medicine man, explains, Felixia is “nadleeh” (transgender) and meant to play an important role for the tribe. Sick Boy and Nizhoni are struggling to find their places within the family fold, while Felixia is preparing to strike out on her own and evolve into something new. Though no one ends up happy exactly, each character finds strength by reconnecting with Native American traditions, which provide a clearer perspective on the way forward. \u003c/p>\n\u003cfigure id=\"attachment_10137946\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kumuhina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kumuhina.jpg\" alt=\"Kumu Hina\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kumuhina.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kumuhina-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kumuhina-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Kumu Hina\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of cutlural heritage, Dean Hamer and Joe Wilson’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3257&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Kumu Hina\u003c/i>\u003c/b>\u003c/a> tells the powerful story of Hinaleimoana Wong Kalu, who is both a “mahu” (transgender) and a “kumu” (respected teacher). The documentary reveals Kalu’s struggle to protect the bones of her ancestors as a government representative inspecting construction sites, teach hula to a group of lackluster teenage boys and navigate a new marriage to a much younger man. Kalu experiences confusion around how to gracefully carry out these various roles, but never wavers in her understanding of the special place she holds within traditional Hawaiian society. \u003c/p>\n\u003cfigure id=\"attachment_10137947\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boysdontcry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boysdontcry.jpg\" alt=\"Boys Don't Cry\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boysdontcry.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boysdontcry-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boysdontcry-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boys Don’t Cry\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a couple other documentaries of note. Elisa Amoruso’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3148&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Off Road\u003c/i>\u003c/b>\u003c/a> is a portrait of mechanic and off-road racing champ Pino who became Beatrice and, through an aggressive form of femininity, forced his community to adjust. Allison Berg and Frank Keraudren’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3270&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>The Dog\u003c/i>\u003c/b>\u003c/a> tells how in 1972, John Wojtowicz held up a Brooklyn bank and became an unlikely gay rights pioneer — and the subject of the Oscar-winning film \u003ci>Dog Day Afternoon\u003c/i>.\u003c/p>\n\u003cp>There is also a 15-year anniversary screening of Kimberly Peirce’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3395&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Boys Don’t Cry\u003c/i>\u003c/b>\u003c/a>, which features Hillary Swank’s Academy Award-winning performance as Brandon Teena, a trans boy who was brutally murdered shortly before his 21st birthday. Peirce is also featured on a panel of women filmmakers called \u003ci>Change Makers\u003c/i> (Thursday, June 26, 3:30pm, Roxie).\u003c/p>\n\u003cfigure id=\"attachment_10137949\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/youandnight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/youandnight.jpg\" alt=\"You and the Night\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/youandnight.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/youandnight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/youandnight-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>You and the Night\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Yann Ganzalez’s debut feature \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3324&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>You and the Night\u003c/i>\u003c/b>\u003c/a> is probably the sexiest movie I previewed for the festival. Surprisingly, for a film about a group of people convening for an orgy, there isn’t much sex. The orgy is sort of “Godot” in this BDSM version of \u003ci>Last Year at Marienbad\u003c/i> or \u003ci>The Discreet Charm of the Bourgeoisie\u003c/i>, except that it does finally arrive (sort of). \u003ci>You and the Night\u003c/i> is full of old school European characters that express their world-weariness with hilarious existential pronouncements. They are tired of living and seek escape through sex. Around midnight The Slut, The Stud, The Teen and The Star begin arriving at the sleek, brutal-modernist apartment where Ali and Matthias live in a love triangle with Udo, their transvestite maid. As the night wears on, each character passionately recounts the laugh-out-loud story of what brought them to the apartment and into the company of this group of outcasts. Nobody does privileged angst like the French! The movie never goes for laughs, it just gets them by sending up Surrealist cinema so effectively that it becomes a classic of the genre itself.\u003c/p>\n\u003cp>What’s great about this collection of films is how the struggle, which we have seen repeatedly throughout the short history of LGBTQ cinema, isn’t about the main character coming to terms with his or her or its difference, but rather how the expression of and confidence in that difference ripples through whole communities. The trans characters in these films play a much more interesting role than their straight and gay counterparts because they pose such deep questions about subjects (like gender) that most people take for granted.\u003c/p>\n\u003c/div>\u003c/aside>\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Frameline, the oldest LGBT film festival in the world, kicks off its 11 day run tonight, screening 214 films from 31 countries. We unearthed a couple of must-sees amid this sampling of movies featuring prominent trans characters. ",
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"description": "Frameline, the oldest LGBT film festival in the world, kicks off its 11 day run tonight, screening 214 films from 31 countries. We unearthed a couple of must-sees amid this sampling of movies featuring prominent trans characters. ",
"title": "On a Trans-mission at Frameline 38 | KQED",
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"headline": "On a Trans-mission at Frameline 38",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recent controversy surrounding the use of perceived \u003ca href=\"http://www.advocate.com/politics/transgender/2014/03/18/rupaul-stokes-anger-use-transphobic-slur\" target=\"_blank\" rel=\"noopener\">trans-phobic slurs on \u003ci>RuPaul’s Drag Race\u003c/i>\u003c/a> and Heklina’s \u003ca href=\"http://sfist.com/2014/05/23/exclusive_sfist_talks_with_heklina.php\" target=\"_blank\" rel=\"noopener\">rebranding of Trannyshack\u003c/a>, the multi-city drag show she has been producing for the last 18 years, sparked an internal debate over the power of language. The argument quickly splintered into various threads about regulating speech, understanding the contexts in which certain words are used, and who can claim the right to use such words (the re-appropriations of queer, fag and the N-word come immediately to mind), especially when these words can be perceived as hurtful or even hateful.\u003c/p>\n\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-desc\">\nFrameline is the oldest LGBT film festival in the world and a local treasure, serving up images of queer life from around the globe since 1977. Over the next 11 days, the festival will screen 214 films originating from 31 countries in 102 programs at various Bay Area locations. For \u003ca href=\"http://ticketing.frameline.org/festival/?FID=51\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a> visit frameline.org.\n\u003cdiv class=\"event-dates\">\n\u003ch4>June 19-29, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro, Roxie and Victoria Theaters in San Francisco;\u003cbr>\nRialto Cinemas Elmwood in Berkeley\u003cbr>\n\u003ca href=\"http://www.frameline.org/blog/2014/05/27/frameline38-app\" target=\"_blank\" rel=\"noopener\">Get the Festival App\u003c/a>\u003c/div>\n\n\u003cp>Coming quickly on the (high) heels of this colorful exchange, the 38th edition of the San Francisco International LGBT Film Festival (now commonly known as Frameline) starts tonight at the Castro Theater in San Francisco — and not a minute too soon. What better place to reflect on these issues? Viewing images of the multiple facets of LGBTQ (XYZ) life from around the world play out onscreen in the company of one’s peers is what has always been so empowering about the festival. Seeing how people from different cultures grapple with similar issues provides us with the opportunity to put these conversations into a much wider context. \u003c/p>\n\u003cfigure id=\"attachment_10137942\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/blackisblue.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/blackisblue.jpg\" alt=\"Black is Blue\" width=\"640\" height=\"427\" class=\"size-full wp-image-10137942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/blackisblue.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/blackisblue-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/blackisblue-300x200.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from Cheryl Dunye’s \u003ci>Black Is Blue\u003c/i>, featured \u003cb>In the City of Shy Hunters\u003c/b> program\u003c/figcaption>\u003c/figure>\n\u003cp>Though they are not called out within the festival’s press materials, I counted at least 11 feature-length narratives and documentaries and two shorts programs (\u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3182&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>In the City of Shy Hunters\u003c/b>\u003c/a> and \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3163&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>Transtastic!\u003c/b>\u003c/a>) featuring prominent trans characters — and set about watching them. One thing I found refreshing about the group is that they were definitely more engaging than most of the gay-male or lesbian-centered films I have seen in recent years, which have become increasingly formulaic. The once-revitalizing addition of queer elements has grown a little stale, revealing an all-too-familiar set of film conventions. \u003c/p>\n\u003cp>True to the their two-spirit, Frameline’s trans selections follow a third path. Sure, the characters struggle with complex realities, but their struggles are less about self-acceptance, and more with the way others attempt to limit and define them. \u003c/p>\n\u003cfigure id=\"attachment_10137943\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boymeetsgirl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boymeetsgirl.jpg\" alt=\"Boy Meets Girl\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boymeetsgirl.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boymeetsgirl-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boymeetsgirl-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boy Meets Girl\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two narratives tied for my favorite in the bunch. The first, \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3099&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Boy Meets Girl\u003c/i>\u003c/b>\u003c/a>, couldn’t be sweeter. As the title implies, Eric Schaeffer’s movie is really just a simple love story featuring probably the most adorable cast you will see in ANY film this year. \u003ci>Boy Meets Girl\u003c/i> is anchored by trans-woman \u003ca href=\"http://theheroines.blogspot.com/2013/12/interview-with-michelle-hendley.html\">Michelle Hendley\u003c/a>‘s charming and open-hearted performance as Ricky, a 21-year-old who works in a small-town coffee shop in Kentucky, but dreams of moving to New York and becoming a fashion designer. She spends most of her time with Robby (Michael Welch, \u003ci>Twilight\u003c/i>), her best boy friend, who has remained steadfast during her transition from cute little boy to beautiful young woman. Complications ensue when Ricky and a local debutante develop a (very) close friendship, which confuses everyone but Ricky. \u003c/p>\n\u003cfigure id=\"attachment_10137944\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/openup.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/openup.jpg\" alt=\"Open Up to Me\" width=\"640\" height=\"278\" class=\"size-full wp-image-10137944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/openup.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/openup-400x173.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/openup-300x130.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Open Up to Me\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Just across the globe but seemingly light years away from small-town Kentucky, Finnish director Simo Halinen’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3223&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Open Up to Me\u003c/i>\u003c/b>\u003c/a> follows Maarit (Leea Klemola) as she attempts to put her life back together after completing the transition from man to woman. Mistaken for a prominent psychotherapist, whose office she is supposed to be cleaning, Maarit uses her education and background in social work to counsel Sami (Peter Franzén), a handsome soccer coach who is struggling in a difficult marriage. There is some serious chemistry between Franzén and Klemola, which the film attributes to Maarit’s former identity as a pro soccer player. To say that things get complicated would be an understatement, but they never go over the top. Against Finland’s wintry landscape a simple story unfolds about people trying to make their way in a confusing world. \u003c/p>\n\u003cp>One recurring theme pops up: Identity is fluid, and none of the characters understand this as intimately as the trans characters do. In fact, gender is almost less stable than personality in these films, though this is perplexing to people who cling to order even after it’s been revealed to be an illusion. The world is a much harder place to handle when things are in flux — and people aren’t easily identifiable.\u003c/p>\n\u003cp>Side note (trust me, it’s related): I teach a film class at a local university. Delicately approaching the subject of personal pronouns, I was informed that one of my students would rather be referred to as “it,” instead of “he” or “she.” I had never heard this before, but I always struggle with the possibility of offending when it comes to the use of personal pronouns in situations like these. When I relayed this experience to a friend, she thought it sounded “dehumanizing” to call someone “it.” How limiting. I thought it sounded kind of fun; I’ve always felt more like an “it” myself. Why should the gendered forms be considered more “human,” especially to someone who identifies with neither — or both? \u003c/p>\n\u003cfigure id=\"attachment_10137945\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/drunktown.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/drunktown.jpg\" alt=\"Drunktown's Finest\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137945\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/drunktown.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/drunktown-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/drunktown-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Drunktown’s Finest\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>This formulation is actually explored structurally in Sydney Freeland’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3314&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Drunktown’s Finest\u003c/i>\u003c/b>\u003c/a>. The film begins in the rough; three Native American characters do their best to navigate a scrabbly, hard-knock life in the middle of the New Mexican desert. Expectant father Sick Boy needs to stay out of trouble long enough to join the army, where he hopes to secure a regular paycheck to support his family. Nizhoni is back visiting her white adoptive parents for the summer, racking up community service hours to secure a college scholarship, and using the opportunity to seek out her birth family. Felixia is trying out for a slot in a “Women of the Navajo” calendar, while also trolling “Tranny” sex sites for a hook up. As Felixia’s grandfather, the local medicine man, explains, Felixia is “nadleeh” (transgender) and meant to play an important role for the tribe. Sick Boy and Nizhoni are struggling to find their places within the family fold, while Felixia is preparing to strike out on her own and evolve into something new. Though no one ends up happy exactly, each character finds strength by reconnecting with Native American traditions, which provide a clearer perspective on the way forward. \u003c/p>\n\u003cfigure id=\"attachment_10137946\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kumuhina.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kumuhina.jpg\" alt=\"Kumu Hina\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kumuhina.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kumuhina-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kumuhina-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Kumu Hina\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Speaking of cutlural heritage, Dean Hamer and Joe Wilson’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3257&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Kumu Hina\u003c/i>\u003c/b>\u003c/a> tells the powerful story of Hinaleimoana Wong Kalu, who is both a “mahu” (transgender) and a “kumu” (respected teacher). The documentary reveals Kalu’s struggle to protect the bones of her ancestors as a government representative inspecting construction sites, teach hula to a group of lackluster teenage boys and navigate a new marriage to a much younger man. Kalu experiences confusion around how to gracefully carry out these various roles, but never wavers in her understanding of the special place she holds within traditional Hawaiian society. \u003c/p>\n\u003cfigure id=\"attachment_10137947\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boysdontcry.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/boysdontcry.jpg\" alt=\"Boys Don't Cry\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boysdontcry.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boysdontcry-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/boysdontcry-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Boys Don’t Cry\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a couple other documentaries of note. Elisa Amoruso’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3148&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Off Road\u003c/i>\u003c/b>\u003c/a> is a portrait of mechanic and off-road racing champ Pino who became Beatrice and, through an aggressive form of femininity, forced his community to adjust. Allison Berg and Frank Keraudren’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3270&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>The Dog\u003c/i>\u003c/b>\u003c/a> tells how in 1972, John Wojtowicz held up a Brooklyn bank and became an unlikely gay rights pioneer — and the subject of the Oscar-winning film \u003ci>Dog Day Afternoon\u003c/i>.\u003c/p>\n\u003cp>There is also a 15-year anniversary screening of Kimberly Peirce’s \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3395&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>Boys Don’t Cry\u003c/i>\u003c/b>\u003c/a>, which features Hillary Swank’s Academy Award-winning performance as Brandon Teena, a trans boy who was brutally murdered shortly before his 21st birthday. Peirce is also featured on a panel of women filmmakers called \u003ci>Change Makers\u003c/i> (Thursday, June 26, 3:30pm, Roxie).\u003c/p>\n\u003cfigure id=\"attachment_10137949\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/youandnight.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/youandnight.jpg\" alt=\"You and the Night\" width=\"640\" height=\"360\" class=\"size-full wp-image-10137949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/youandnight.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/youandnight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/youandnight-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>You and the Night\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, Yann Ganzalez’s debut feature \u003ca href=\"http://ticketing.frameline.org/festival/film/detail.aspx?id=3324&FID=51\" target=\"_blank\" rel=\"noopener\">\u003cb>\u003ci>You and the Night\u003c/i>\u003c/b>\u003c/a> is probably the sexiest movie I previewed for the festival. Surprisingly, for a film about a group of people convening for an orgy, there isn’t much sex. The orgy is sort of “Godot” in this BDSM version of \u003ci>Last Year at Marienbad\u003c/i> or \u003ci>The Discreet Charm of the Bourgeoisie\u003c/i>, except that it does finally arrive (sort of). \u003ci>You and the Night\u003c/i> is full of old school European characters that express their world-weariness with hilarious existential pronouncements. They are tired of living and seek escape through sex. Around midnight The Slut, The Stud, The Teen and The Star begin arriving at the sleek, brutal-modernist apartment where Ali and Matthias live in a love triangle with Udo, their transvestite maid. As the night wears on, each character passionately recounts the laugh-out-loud story of what brought them to the apartment and into the company of this group of outcasts. Nobody does privileged angst like the French! The movie never goes for laughs, it just gets them by sending up Surrealist cinema so effectively that it becomes a classic of the genre itself.\u003c/p>\n\u003cp>What’s great about this collection of films is how the struggle, which we have seen repeatedly throughout the short history of LGBTQ cinema, isn’t about the main character coming to terms with his or her or its difference, but rather how the expression of and confidence in that difference ripples through whole communities. The trans characters in these films play a much more interesting role than their straight and gay counterparts because they pose such deep questions about subjects (like gender) that most people take for granted.\u003c/p>\n\u003c/div>\u003c/aside>\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Obvious Child: Why America Is Finally Ready for the First Pro-Choice Rom Com",
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"content": "\u003cfigure id=\"attachment_12430\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/13/obvious-child-why-america-is-finally-ready-for-the-first-pro-choice-rom-com/obvious-child/\" rel=\"attachment wp-att-12430\">\u003cimg class=\"size-full wp-image-12430\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/obvious-child.jpg\" alt=\"Photo: A24\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/obvious-child.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/obvious-child-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: A24\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>By Aya de Leon\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003ci>Obvious Child\u003c/i>, Gillian Robespierre's\u003ci> \u003c/i>feature debut starring Jenny Slate, is by no means the first romantic comedy based on a drunken one-night-stand leading to an unplanned pregnancy. It is, however, the first one where the pregnancy ends in abortion, which marks a massive shift in the cultural landscape. What has happened in the pop culture landscape over the last decade or so to make the once taboo abortion rom com plot possible -- even comical?\u003c/p>\n\u003cp class=\"p1\">Some bloggers dubbed the original 23-minute short version of \u003ci>Obvious Child \u003c/i>the “anti-\u003ci>Knocked Up\u003c/i>.” In that 2007 Judd Apatow film, Katherine Heigl plays a young woman who goes out drinking in celebration of her promotion and ends up having sex with an immature stoner played by Seth Rogen. In \u003ci>Obvious Child\u003c/i>, the roles are reversed, with Donna as the drunken, over-sharing comedian, and Max as the successful, clean-cut young businessman. \u003ci>Knocked Up\u003c/i> relies on the hard-to-accept premise that an aspiring television star would choose motherhood at the moment it would cost her career with a man she disdains. Critic Emily Nussbaum said, “Alison [Heigl's character] made basically zero sense… [and] glided into this pregnancy, assumed from there that she should try to make a go of it with Rogen, and hung out benignly smiling at his stoner buddies. She was…strangely spineless…especially considering that she was this ambitious young Hollywood babe.”\u003c/p>\n\u003cp class=\"p1\">In the real world, I have observed that a majority of women in these positions choose to have abortions. Up until \u003ci>Obvious Child\u003c/i>, the story of the ambitious woman who terminates a pregnancy had belonged exclusively to the province of dramas, where the viewer isn't required to like the characters to invest in the show. In romantic comedies, however, we need to like the two lovers. We need to want them to succeed in order to enjoy the film.\u003c/p>\n\u003cp class=\"p1\">In \u003ci>Obvious Child\u003c/i>, the abortion is the obvious choice. We wouldn’t want to see the impulsive, chaotic, and recently unemployed Donna attempt to be responsible for a goldfish, let alone a human child. Nevertheless, she’s likable enough that we may hope she might make a good mom in the future, after many life lessons. Likeability is a big issue for many female characters who are ambitious or \"pushy\" or don’t follow the rules. Female characters who transgress, whether in TV, film, or fiction, tend to get punished. But \u003ci>Obvious Child\u003c/i> portrays the abortion sympathetically and doesn’t deliver any moral comeuppance. \u003ca href=\"http://bitchmagazine.org/post/obvious-child-much-more-than-just-a-%E2%80%98romantic-comedy-about-abortion%E2%80%99\">Critic Gabrielle Moss notes\u003c/a> two other sympathetically depicted abortions in \u003ci>Fast Times at Ridgemont High \u003c/i>and\u003ci> Dirty Dancing,\u003c/i> but in neither case was it the protagonist who had the unwanted pregnancy, and neither were classic romantic comedies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">While an abortion storyline might be shocking in another rom com, it works in \u003ci>Obvious Child\u003c/i> because so much of Donna’s comedy material is toilet humor. By the time Donna ends up pregnant, the film has already shown itself to be raunchy and raw. Interestingly, the big choice Donna has to make is not about whether to have the abortion, but about whether or not to tell Max that she got pregnant in the first place, which is an interesting conundrum, as they had sex, but are not emotionally intimate enough for her to share the consequences.\u003c/p>\n\u003cp class=\"p1\">This film could never have been made in years past, not only because the topic would have been too taboo, but also because many other important films and TV shows needed to pave the way first. Incredibly awkward and raunchy comedy has been made popular by the likes of \u003cem>The Office,\u003c/em> \u003ci>The 40-Year-Old Virgin and\u003c/i> \u003ci>Forgetting Sarah Marshall\u003c/i>. And \u003ci>Obvious Child\u003c/i> also comes along in the wake of \u003cem>New Girl\u003c/em>'s and \u003cem>Girl\u003c/em>s' success, which, like \u003ci>Obvious Child\u003c/i>, respectively moved the female character that has traditionally been the “quirky friend” to the position of romantic lead, and brought the brilliant, uncensored New York millennial female to the screen for the first time. \u003ci>Obvious Child \u003c/i>brings together some of the best bits from these influences and creates a new breed of awkwardness, raunch, and adorkability.\u003c/p>\n\u003cp class=\"p1\">It makes sense that a female comedian would be the one to carry this issue to the rom com screen. In \u003ci>Bossypants, \u003c/i>Tina Fey’s autobiography, she recounts a moment when Jimmy Fallon told Amy Poehler that her joke was “not cute! I don’t like it.” And Amy responded “I don’t f@#%ing care if you like it.” \u003ci>Obvious Child \u003c/i>is right in line with Tina Fey’s advice from that same chapter: “do your thing. Don’t care if they like it.” But as is often the case when women take bold risks in comedy, the audience is loving it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12430\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/06/13/obvious-child-why-america-is-finally-ready-for-the-first-pro-choice-rom-com/obvious-child/\" rel=\"attachment wp-att-12430\">\u003cimg class=\"size-full wp-image-12430\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/06/obvious-child.jpg\" alt=\"Photo: A24\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/06/obvious-child.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/06/obvious-child-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: A24\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>By Aya de Leon\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003ci>Obvious Child\u003c/i>, Gillian Robespierre's\u003ci> \u003c/i>feature debut starring Jenny Slate, is by no means the first romantic comedy based on a drunken one-night-stand leading to an unplanned pregnancy. It is, however, the first one where the pregnancy ends in abortion, which marks a massive shift in the cultural landscape. What has happened in the pop culture landscape over the last decade or so to make the once taboo abortion rom com plot possible -- even comical?\u003c/p>\n\u003cp class=\"p1\">Some bloggers dubbed the original 23-minute short version of \u003ci>Obvious Child \u003c/i>the “anti-\u003ci>Knocked Up\u003c/i>.” In that 2007 Judd Apatow film, Katherine Heigl plays a young woman who goes out drinking in celebration of her promotion and ends up having sex with an immature stoner played by Seth Rogen. In \u003ci>Obvious Child\u003c/i>, the roles are reversed, with Donna as the drunken, over-sharing comedian, and Max as the successful, clean-cut young businessman. \u003ci>Knocked Up\u003c/i> relies on the hard-to-accept premise that an aspiring television star would choose motherhood at the moment it would cost her career with a man she disdains. Critic Emily Nussbaum said, “Alison [Heigl's character] made basically zero sense… [and] glided into this pregnancy, assumed from there that she should try to make a go of it with Rogen, and hung out benignly smiling at his stoner buddies. She was…strangely spineless…especially considering that she was this ambitious young Hollywood babe.”\u003c/p>\n\u003cp class=\"p1\">In the real world, I have observed that a majority of women in these positions choose to have abortions. Up until \u003ci>Obvious Child\u003c/i>, the story of the ambitious woman who terminates a pregnancy had belonged exclusively to the province of dramas, where the viewer isn't required to like the characters to invest in the show. In romantic comedies, however, we need to like the two lovers. We need to want them to succeed in order to enjoy the film.\u003c/p>\n\u003cp class=\"p1\">In \u003ci>Obvious Child\u003c/i>, the abortion is the obvious choice. We wouldn’t want to see the impulsive, chaotic, and recently unemployed Donna attempt to be responsible for a goldfish, let alone a human child. Nevertheless, she’s likable enough that we may hope she might make a good mom in the future, after many life lessons. Likeability is a big issue for many female characters who are ambitious or \"pushy\" or don’t follow the rules. Female characters who transgress, whether in TV, film, or fiction, tend to get punished. But \u003ci>Obvious Child\u003c/i> portrays the abortion sympathetically and doesn’t deliver any moral comeuppance. \u003ca href=\"http://bitchmagazine.org/post/obvious-child-much-more-than-just-a-%E2%80%98romantic-comedy-about-abortion%E2%80%99\">Critic Gabrielle Moss notes\u003c/a> two other sympathetically depicted abortions in \u003ci>Fast Times at Ridgemont High \u003c/i>and\u003ci> Dirty Dancing,\u003c/i> but in neither case was it the protagonist who had the unwanted pregnancy, and neither were classic romantic comedies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">While an abortion storyline might be shocking in another rom com, it works in \u003ci>Obvious Child\u003c/i> because so much of Donna’s comedy material is toilet humor. By the time Donna ends up pregnant, the film has already shown itself to be raunchy and raw. Interestingly, the big choice Donna has to make is not about whether to have the abortion, but about whether or not to tell Max that she got pregnant in the first place, which is an interesting conundrum, as they had sex, but are not emotionally intimate enough for her to share the consequences.\u003c/p>\n\u003cp class=\"p1\">This film could never have been made in years past, not only because the topic would have been too taboo, but also because many other important films and TV shows needed to pave the way first. Incredibly awkward and raunchy comedy has been made popular by the likes of \u003cem>The Office,\u003c/em> \u003ci>The 40-Year-Old Virgin and\u003c/i> \u003ci>Forgetting Sarah Marshall\u003c/i>. And \u003ci>Obvious Child\u003c/i> also comes along in the wake of \u003cem>New Girl\u003c/em>'s and \u003cem>Girl\u003c/em>s' success, which, like \u003ci>Obvious Child\u003c/i>, respectively moved the female character that has traditionally been the “quirky friend” to the position of romantic lead, and brought the brilliant, uncensored New York millennial female to the screen for the first time. \u003ci>Obvious Child \u003c/i>brings together some of the best bits from these influences and creates a new breed of awkwardness, raunch, and adorkability.\u003c/p>\n\u003cp class=\"p1\">It makes sense that a female comedian would be the one to carry this issue to the rom com screen. In \u003ci>Bossypants, \u003c/i>Tina Fey’s autobiography, she recounts a moment when Jimmy Fallon told Amy Poehler that her joke was “not cute! I don’t like it.” And Amy responded “I don’t f@#%ing care if you like it.” \u003ci>Obvious Child \u003c/i>is right in line with Tina Fey’s advice from that same chapter: “do your thing. Don’t care if they like it.” But as is often the case when women take bold risks in comedy, the audience is loving it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\n\u003c/p>\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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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",
"title": "Commonwealth Club of California Podcast",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"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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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"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",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
