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"content": "\u003cp>Swedish director Malik Bendjelloul, who won an Oscar last year for his 2012 documentary \u003cem>Searching for Sugar Man\u003c/em>, has been found dead in Stockholm at age 36, police and family members confirm.\u003c/p>\n\u003cp>Reuters reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Stockholm police declined to provide any further details about Bendjelloul’s death.”\u003c/p>\n\u003cp>“‘What I can say is that there are no suspicions any crime was involved,’ Stockholm police duty officer Pia Glenvik said.\u003c/p>\n\u003cp>“Bendjelloul won an Oscar in 2013 as a first-time filmmaker for \u003cem>Searching for Sugar Man\u003c/em>. The film followed two South African journalists who set out to find what had become of Sixto Rodriguez, an American singer who was popular in South Africa who seemingly vanished without a trace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/oscar-winning-director-of-searching-for-sugar-man-found-dead-1201179913/\">Variety says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“Born in Sweden, Bendjelloul appeared on TV as a child and then studied journalism and media production. He produced music documentaries for Swedish television and worked as a TV reporter before leaving to travel in Africa and South America.”\u003c/p>\n\u003c/blockquote>\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=Oscar-Winning+Director+Malik+Bendjelloul+Dies+At+36&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Swedish director Malik Bendjelloul, who won an Oscar last year for his 2012 documentary \u003cem>Searching for Sugar Man\u003c/em>, has been found dead in Stockholm at age 36, police and family members confirm.\u003c/p>\n\u003cp>Reuters reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Stockholm police declined to provide any further details about Bendjelloul’s death.”\u003c/p>\n\u003cp>“‘What I can say is that there are no suspicions any crime was involved,’ Stockholm police duty officer Pia Glenvik said.\u003c/p>\n\u003cp>“Bendjelloul won an Oscar in 2013 as a first-time filmmaker for \u003cem>Searching for Sugar Man\u003c/em>. The film followed two South African journalists who set out to find what had become of Sixto Rodriguez, an American singer who was popular in South Africa who seemingly vanished without a trace.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://variety.com/2014/film/news/oscar-winning-director-of-searching-for-sugar-man-found-dead-1201179913/\">Variety says:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“Born in Sweden, Bendjelloul appeared on TV as a child and then studied journalism and media production. He produced music documentaries for Swedish television and worked as a TV reporter before leaving to travel in Africa and South America.”\u003c/p>\n\u003c/blockquote>\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=Oscar-Winning+Director+Malik+Bendjelloul+Dies+At+36&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Has the Bay Area become the crazy cat lady of the West Coast? I’m asking because this Saturday there are not one but TWO feline-centric video festivals being held here — one in Oakland, the other in San Francisco — and both are aiming to be massive celebrations of the Internet’s flagship product, the cat video.\u003c/p>\n\u003cp>San Francisco’s Roxie Theater is hosting a cat video festival so big it has intergalactic in the title. Organized by Roxie Theater programmer Mike Keegan and SF Sketchfest’s operations manager Jay Wertzler, the \u003ca href=\"http://www.thefirstannual.com/sfiffavffh/program/\" target=\"_blank\" rel=\"noopener\">\u003cb>First Annual San Francisco Intergalactic Film & Video Feline Festival for Humans\u003c/b>\u003c/a> (SFIFFAVFFH) will consist of 12 hours of cat videos shown on the big screen, the intended medium for many of the pieces being shown at the festival. Broken into three acts, highlighted works from the festival include the world “purr-miere” (their word, not mine) of \u003ca href=\"https://www.facebook.com/catagentRB\" target=\"_blank\" rel=\"noopener\">\u003ci>Cat Agent,\u003c/i>\u003c/a> a series of an animated shorts from Kent Osborne of \u003ci>Adventure Time,\u003c/i> and clips from found footage curators \u003ca href=\"http://watch.everythingisterrible.com/\" target=\"_blank\" rel=\"noopener\">“Everything Is Terrible,”\u003c/a> credited with bringing \u003ci>So Your Cat Wants A Massage?\u003c/i> to the Internet-using public.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TnZhi5gaX8g\u003c/p>\n\u003cp>Across the Bay in Oakland, the East Bay SPCA will be holding its second annual \u003ca href=\"http://www.oaklandcatvidfest.com/\" target=\"_blank\" rel=\"noopener\">\u003cb>Save a Kitten at OakCatVidFest,\u003c/b>\u003c/a> an event that mixes the Bay Area’s love of cat videos with the desire of its residents to save every lonely kitty living in a shelter. Along with a curated selection of cat videos provided by the \u003ca href=\"http://www.walkerart.org/calendar/2014/internet-cat-video-festival-2014\" target=\"_blank\" rel=\"noopener\">Minneapolis-based Walker Art Center\u003c/a> and shown on the 100’x100′ Great Wall of Oakland, the festival will include opportunities to adopt homeless kitty kats and create feline-inspired art in its “Cativity” section.\u003c/p>\n\u003cp>(It should be noted that last year’s OakCatVidFest was so popular, Oakland Mayor Jean Quan declared that day to be “Internet Cat Video Day.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though the two festivals are technically competing on Saturday — SFIFFAVFFH runs from noon to midnight, while the OakCatVidFest runs from 3 to 10 pm — they share a common feature: Internet celebrity Lil Bub. With over 680,000 friends on Facebook, her own chat and feature-length film, BUB has to be one of, if not thee most popular cat on the Interwebs (though Keyboard Cat and Grumpy Cat might have an issue with that statement.)\u003c/p>\n\u003cfigure id=\"attachment_10135696\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/LilBub3crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/LilBub3crop.jpg\" alt=\"Lil Bub\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/LilBub3crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/LilBub3crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/LilBub3crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Bub \u003ccite>(Facebook.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lil Bub is going to have quite a busy day on Saturday, as her schedule might as well be the same as our president’s when he’s on a Bay Area fundraising trip. She’s the honored guest at the SFIFFAVFFH, where she will receive the festival’s “First Annual Lil BUB Award for Outstanding Achievement in Cat.” She will also be premiering her new video, \u003ci>The BEST of Lil BUB’s Big SHOW,\u003c/i> after which she and her owner will participate in a live Q&A. \u003c/p>\n\u003cp>At the OakCatVidFest, for which she’s this year’s “spokes-cat,” Lil Bub will participating in a meet-and-greet to raise funds for both the East Bay SPCA and her own charity, Lil Bub’s Big Fund for the ASPCA, which benefits cats with special needs. (Lil Bub is a \u003ca href=\"http://lilbub.com/about\" target=\"_blank\" rel=\"noopener\"> special needs cat herself,\u003c/a> having been born the runt of a litter with several genetic mutations, resulting in her “perma-kitten” appearance.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6TJ2IiHmBeM\u003c/p>\n\u003cp>At this point, if you’re having problems deciding between which festival to attend, don’t let your conscience be the deciding factor. Though the OakCatVidFest has several animal shelters participating in the hope of signing up 100 new foster homes for local kittens, both events are raising funds for their local SPCAs. So keep yourself from commuting on a Saturday (unless you want to) because the most important aspect of these events are the cats themselves. 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Tickets are $12, $30 for an all-day pass. \u003ca href=\"http://www.roxie.com/ai1ec_event/first-annual-san-francisco-intergalactic-feline-film-video-festival-humans/?instance_id=\" target=\"_blank\" rel=\"noopener\"> For tickets and more information,\u003c/a> visit www.thefirstannual.com/sfiffavffh/.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The second annual Save A Kitten OakCatVidFest\u003c/b> will be held on Saturday, May 10, 2014, from 3-10 pm at the Great Wall of Oakland. Tickets start at $10 for adults. \u003ca href=\"http://www.oaklandcatvidfest.com/#tickets\" target=\"_blank\" rel=\"noopener\"> For tickets and more information,\u003c/a> visit www.oaklandcatvidfest.com/.\u003c/p>\n\n",
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"excerpt": "This Saturday the Bay Area is hosting not one but TWO video festivals concentrating on feline-centric works. Here's why you should be going to both.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Has the Bay Area become the crazy cat lady of the West Coast? I’m asking because this Saturday there are not one but TWO feline-centric video festivals being held here — one in Oakland, the other in San Francisco — and both are aiming to be massive celebrations of the Internet’s flagship product, the cat video.\u003c/p>\n\u003cp>San Francisco’s Roxie Theater is hosting a cat video festival so big it has intergalactic in the title. Organized by Roxie Theater programmer Mike Keegan and SF Sketchfest’s operations manager Jay Wertzler, the \u003ca href=\"http://www.thefirstannual.com/sfiffavffh/program/\" target=\"_blank\" rel=\"noopener\">\u003cb>First Annual San Francisco Intergalactic Film & Video Feline Festival for Humans\u003c/b>\u003c/a> (SFIFFAVFFH) will consist of 12 hours of cat videos shown on the big screen, the intended medium for many of the pieces being shown at the festival. Broken into three acts, highlighted works from the festival include the world “purr-miere” (their word, not mine) of \u003ca href=\"https://www.facebook.com/catagentRB\" target=\"_blank\" rel=\"noopener\">\u003ci>Cat Agent,\u003c/i>\u003c/a> a series of an animated shorts from Kent Osborne of \u003ci>Adventure Time,\u003c/i> and clips from found footage curators \u003ca href=\"http://watch.everythingisterrible.com/\" target=\"_blank\" rel=\"noopener\">“Everything Is Terrible,”\u003c/a> credited with bringing \u003ci>So Your Cat Wants A Massage?\u003c/i> to the Internet-using public.\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/TnZhi5gaX8g'\n title='//www.youtube.com/embed/TnZhi5gaX8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Across the Bay in Oakland, the East Bay SPCA will be holding its second annual \u003ca href=\"http://www.oaklandcatvidfest.com/\" target=\"_blank\" rel=\"noopener\">\u003cb>Save a Kitten at OakCatVidFest,\u003c/b>\u003c/a> an event that mixes the Bay Area’s love of cat videos with the desire of its residents to save every lonely kitty living in a shelter. Along with a curated selection of cat videos provided by the \u003ca href=\"http://www.walkerart.org/calendar/2014/internet-cat-video-festival-2014\" target=\"_blank\" rel=\"noopener\">Minneapolis-based Walker Art Center\u003c/a> and shown on the 100’x100′ Great Wall of Oakland, the festival will include opportunities to adopt homeless kitty kats and create feline-inspired art in its “Cativity” section.\u003c/p>\n\u003cp>(It should be noted that last year’s OakCatVidFest was so popular, Oakland Mayor Jean Quan declared that day to be “Internet Cat Video Day.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the two festivals are technically competing on Saturday — SFIFFAVFFH runs from noon to midnight, while the OakCatVidFest runs from 3 to 10 pm — they share a common feature: Internet celebrity Lil Bub. With over 680,000 friends on Facebook, her own chat and feature-length film, BUB has to be one of, if not thee most popular cat on the Interwebs (though Keyboard Cat and Grumpy Cat might have an issue with that statement.)\u003c/p>\n\u003cfigure id=\"attachment_10135696\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/LilBub3crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/LilBub3crop.jpg\" alt=\"Lil Bub\" width=\"800\" height=\"450\" class=\"size-full wp-image-10135696\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/LilBub3crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/LilBub3crop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/LilBub3crop-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Bub \u003ccite>(Facebook.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lil Bub is going to have quite a busy day on Saturday, as her schedule might as well be the same as our president’s when he’s on a Bay Area fundraising trip. She’s the honored guest at the SFIFFAVFFH, where she will receive the festival’s “First Annual Lil BUB Award for Outstanding Achievement in Cat.” She will also be premiering her new video, \u003ci>The BEST of Lil BUB’s Big SHOW,\u003c/i> after which she and her owner will participate in a live Q&A. \u003c/p>\n\u003cp>At the OakCatVidFest, for which she’s this year’s “spokes-cat,” Lil Bub will participating in a meet-and-greet to raise funds for both the East Bay SPCA and her own charity, Lil Bub’s Big Fund for the ASPCA, which benefits cats with special needs. (Lil Bub is a \u003ca href=\"http://lilbub.com/about\" target=\"_blank\" rel=\"noopener\"> special needs cat herself,\u003c/a> having been born the runt of a litter with several genetic mutations, resulting in her “perma-kitten” appearance.)\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/6TJ2IiHmBeM'\n title='//www.youtube.com/embed/6TJ2IiHmBeM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At this point, if you’re having problems deciding between which festival to attend, don’t let your conscience be the deciding factor. Though the OakCatVidFest has several animal shelters participating in the hope of signing up 100 new foster homes for local kittens, both events are raising funds for their local SPCAs. So keep yourself from commuting on a Saturday (unless you want to) because the most important aspect of these events are the cats themselves. Sure, Internet cat videos are fun and we certainly can’t have enough fun in this town, but for those who truly love cats it should be noted that springtime is “kitten season,” where shelters become overwhelmed with pre-weaned kittens who need around-the-clock attention and care until they are old enough to be adopted. \u003c/p>\n\u003cp>Now with that said, on Saturday, you should get yourself to one of these events, enjoy some off-the-wall cat videos and take a moment to tell the Bay Area’s honored guest, “Good Job Bub.”\u003c/p>\n\u003cp>\u003cb>The First Annual San Francisco Intergalactic Film & Video Feline Festival for Humans\u003c/b> runs at the Roxie Theater on Saturday, May 10, 2014, beginning at noon. Tickets are $12, $30 for an all-day pass. \u003ca href=\"http://www.roxie.com/ai1ec_event/first-annual-san-francisco-intergalactic-feline-film-video-festival-humans/?instance_id=\" target=\"_blank\" rel=\"noopener\"> For tickets and more information,\u003c/a> visit www.thefirstannual.com/sfiffavffh/.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The second annual Save A Kitten OakCatVidFest\u003c/b> will be held on Saturday, May 10, 2014, from 3-10 pm at the Great Wall of Oakland. Tickets start at $10 for adults. \u003ca href=\"http://www.oaklandcatvidfest.com/#tickets\" target=\"_blank\" rel=\"noopener\"> For tickets and more information,\u003c/a> visit www.oaklandcatvidfest.com/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Makers of R-rated comedies face an essential dilemma: finding brand new ways to gross out their snickering adolescent viewers. But as \u003cem>Neighbors \u003c/em>demonstrates, there’s another challenge that’s just as tricky: piloting the raunchy scenario to a payoff that upholds the very middle-class values the movie gleefully profanes.\u003c/p>\n\u003cp>\u003cem>Neighbors\u003c/em> opens in an upscale suburban Anywhereville, where a house is occupied by a standard sitcom couple: goofy, pudgy dad and improbably beautiful mom. Although they have a infant daughter, Mac (Seth Rogan) and Kelly (Rose Byrne) endeavor to keep their pre-parental cool. They’re pot-smokers and rave-goers, and when the movie begins they’re trying to have sex. They fail, embarrassed that baby Stella can see them, although Mac’s insistence on narrating the action — “this is happening!” — is just as deflating.\u003c/p>\n\u003cp>The real conflict begins when a college fraternity, Delta Psi Beta, moves in next door, cramming its new home with beer, babes, noise and hallucinogenic mushrooms. Mac and Kelly try to indulge the newcomers, even joining them for some of their daily parties. But the neighborly outreach doesn’t lead to quiet, and Stella can’t sleep through the racket. So the 30-something old folks call the — useless, of course — cops.\u003c/p>\n\u003cp>Full-scale culture war results, led by grim-eyed, often shirtless Delta president Teddy (Zac Efron) and his marginally more reasonable lieutenant, Pete (Dave Franco). Foul-mouthed Kelly is a more skilled combatant than Mac, even if she does sometimes divert her hostility away from Teddy and toward her husband. The bitter conflict encompasses condoms, exploding airbags, girl-on-girl smooches and a swordfight that uses plaster-casts of the frat boys’ penises.\u003c/p>\n\u003cp>Phony phalluses also featured in \u003cem>Neighbors\u003c/em> director Nicholas Stoller’s 2010 farce, \u003cem>Get Him to the Greek\u003c/em>. In that flick, the chubby hero was played by Jonah Hill, and his path to suburban domesticity was temporarily barred by an aggressive rock-groupie type with a dildo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Been there, inserted that, so Stoller and scripters Andrew J. Cohen and Brendan O’Brien need a new outrage. They find it in the procreative aspect of sex, which may discomfit the teen-boy demographic even more than anal rape. After some hard partying, Kelly is swollen with alcohol-tainted milk, and hysterically insists that Mac relieve the pressure. A set of veiny prosthetic breasts amplifies the body-horror hilarity of the moment, which may be unprecedented but feels as predictable as everything else in this utterly routine provocation.\u003c/p>\n\u003cp>After that scene, it hardly matters if the frat house burns down and takes whole neighborhood with it. \u003cem>Neighbors\u003c/em> has attained its peak of queasy vulgarity, and now must negotiate its way down the other side toward a cozily sentimental conclusion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The movie finds that outcome in the fundamental kinship of Teddy and Mac. As both men stand topless outside an Abercrombie & Fitch, the sculpted frat boy begins to realize that he will someday be a flabby suburban dad. He, too, will have a wife, a child and a mortgage. His only connection to his glory days may very well be the large-screen TV on which he watches future R-rated comedy patsies be taunted, pummeled and mortified. \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=%27Neighbors%27+Just+Wants+To+Be+The+Gross+Joke+Next+Door&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Makers of R-rated comedies face an essential dilemma: finding brand new ways to gross out their snickering adolescent viewers. But as \u003cem>Neighbors \u003c/em>demonstrates, there’s another challenge that’s just as tricky: piloting the raunchy scenario to a payoff that upholds the very middle-class values the movie gleefully profanes.\u003c/p>\n\u003cp>\u003cem>Neighbors\u003c/em> opens in an upscale suburban Anywhereville, where a house is occupied by a standard sitcom couple: goofy, pudgy dad and improbably beautiful mom. Although they have a infant daughter, Mac (Seth Rogan) and Kelly (Rose Byrne) endeavor to keep their pre-parental cool. They’re pot-smokers and rave-goers, and when the movie begins they’re trying to have sex. They fail, embarrassed that baby Stella can see them, although Mac’s insistence on narrating the action — “this is happening!” — is just as deflating.\u003c/p>\n\u003cp>The real conflict begins when a college fraternity, Delta Psi Beta, moves in next door, cramming its new home with beer, babes, noise and hallucinogenic mushrooms. Mac and Kelly try to indulge the newcomers, even joining them for some of their daily parties. But the neighborly outreach doesn’t lead to quiet, and Stella can’t sleep through the racket. So the 30-something old folks call the — useless, of course — cops.\u003c/p>\n\u003cp>Full-scale culture war results, led by grim-eyed, often shirtless Delta president Teddy (Zac Efron) and his marginally more reasonable lieutenant, Pete (Dave Franco). Foul-mouthed Kelly is a more skilled combatant than Mac, even if she does sometimes divert her hostility away from Teddy and toward her husband. The bitter conflict encompasses condoms, exploding airbags, girl-on-girl smooches and a swordfight that uses plaster-casts of the frat boys’ penises.\u003c/p>\n\u003cp>Phony phalluses also featured in \u003cem>Neighbors\u003c/em> director Nicholas Stoller’s 2010 farce, \u003cem>Get Him to the Greek\u003c/em>. In that flick, the chubby hero was played by Jonah Hill, and his path to suburban domesticity was temporarily barred by an aggressive rock-groupie type with a dildo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“What’s going through your mind when you’re doing that… or do you not think at all?” Those words, familiar to any teenager and parent, get yelled at Teddy (Jack Kilmer) about halfway through \u003cem>Palo Alto\u003c/em>. Teddy, still in high school, is on probation after his second arrest, his final chance to get his act together before facing time in a juvenile detention center. The line, though, could have been directed at nearly any of the teenagers in Gia Coppola’s thoughtful debut feature, which offers an empathetic account of teenage tribulations but also makes a good case for why the phrase “troubled youth” is needlessly tautological.\u003c/p>\n\u003cp>Coppola, who here extends her family’s predilection for producing talented directors one generation further, seems to have taken most from her Aunt Sofia’s films. \u003cem>Palo Alto\u003c/em> shares the soft visual tones of \u003cem>Somewhere \u003c/em>and \u003cem>Lost in Translation\u003c/em>, their patient pacing, and their tendency to linger on mundane moments that, in accumulation, offer a comfortable intimacy. When Coppola rests her camera on Teddy sullenly playing his guitar, or on the timid April (Emma Roberts) giving herself pep talks in front of the mirror in her room, there’s no overt purpose to the shots, just a steady portrayal of the inchoate emotions of youth.\u003c/p>\n\u003cp>Coppola captures her characters only halfway to adulthood: they drink too much, experiment sexually, and put on an air of maturity, but their bedrooms are still filled with elementary school photos and childhood decorations. Their reckless actions can reflect an abundance of confidence—they drive drunk and cut down trees in cemeteries—but, just as often, they only highlight a persistent immaturity, such as when Fred (Nat Wolff), Teddy’s best friend, draws sexual pictures in a children’s book at the library.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sTqMUu1iTIo\u003c/p>\n\u003cp>\u003cem>Palo Alto\u003c/em>, which is based on a collection of short stories by James Franco, displays a refreshing lack of handwringing over these acts.Coppola knows there’s a difference between acting out and behaving immorally, just as there’s a difference between the absent but loving parents who populate the movie and adults like Mr. B (James Franco), April’s teacher, who flirts and sleeps with his students.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The greatest respect the film shows its young characters is giving them the benefit of the doubt—the acknowledgement that bad behavior doesn’t necessarily make them bad people. But Coppola also knows better than to let them off the hook completely. At one key moment, we learn that one character may have committed a horrible crime. And while Coppola leaves open the possibility that it was just an awful thought, thankfully never acted upon, the suggestion that the line between youthful debauchery and immorality may not be so far off haunts the film.\u003c/p>\n\u003cp>That said, \u003cem>Palo Alto\u003c/em>‘s portrayals of the tender innocence of youth are ultimately better realized than its darker moments, which quickly become too angst-ridden, as if Coppola feels the need to overemphasize the inner turmoil of her characters. Freddy in particular remains unfortunately one-dimensional in his displays of exaggerated manic behavior. The other characters’ actions reveal a fraught internal thought process, but Freddy’s only suggest an out of control id.\u003c/p>\n\u003cp>That unfettered energy, of course, is part of being a teenager too, as are the parties, the drinking, and the sexual exploration, all of which take up a large part of \u003cem>Palo Alto\u003c/em>. But the movie’s happiest moments tellingly come when the characters are among younger kids, away from the pressures to act beyond their age. As a coming-of-age story, \u003cem>Palo Alto \u003c/em>doesn’t take the loss of innocence lightly; on the contrary, it’s a film about the desperate need to keep some of it intact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Palo Alto\u003c/i> opens in Bay Area theaters on May 16.\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=To+Be+Young%2C+Foolish+And+Baffled%3A+Coming+Of+Age+In+%27Palo+Alto%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The greatest respect the film shows its young characters is giving them the benefit of the doubt—the acknowledgement that bad behavior doesn’t necessarily make them bad people. But Coppola also knows better than to let them off the hook completely. At one key moment, we learn that one character may have committed a horrible crime. And while Coppola leaves open the possibility that it was just an awful thought, thankfully never acted upon, the suggestion that the line between youthful debauchery and immorality may not be so far off haunts the film.\u003c/p>\n\u003cp>That said, \u003cem>Palo Alto\u003c/em>‘s portrayals of the tender innocence of youth are ultimately better realized than its darker moments, which quickly become too angst-ridden, as if Coppola feels the need to overemphasize the inner turmoil of her characters. Freddy in particular remains unfortunately one-dimensional in his displays of exaggerated manic behavior. The other characters’ actions reveal a fraught internal thought process, but Freddy’s only suggest an out of control id.\u003c/p>\n\u003cp>That unfettered energy, of course, is part of being a teenager too, as are the parties, the drinking, and the sexual exploration, all of which take up a large part of \u003cem>Palo Alto\u003c/em>. But the movie’s happiest moments tellingly come when the characters are among younger kids, away from the pressures to act beyond their age. As a coming-of-age story, \u003cem>Palo Alto \u003c/em>doesn’t take the loss of innocence lightly; on the contrary, it’s a film about the desperate need to keep some of it intact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Palo Alto\u003c/i> opens in Bay Area theaters on May 16.\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=To+Be+Young%2C+Foolish+And+Baffled%3A+Coming+Of+Age+In+%27Palo+Alto%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_12057\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/06/watch-san-francisco-fall-a-collection-of-the-most-destructive-movie-scenes/gg-bridge-destruction/\" rel=\"attachment wp-att-12057\">\u003cimg class=\"wp-image-12057 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/gg-bridge-destruction.jpg\" alt=\"gg-bridge-destruction\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/gg-bridge-destruction.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/gg-bridge-destruction-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: 20th Century Fox\u003c/figcaption>\u003c/figure>\n\u003cp>What is it about the human condition that makes man capable of creating things of great beauty (paintings, sculpture, fashion collections, entire cities even), and so fascinated with destroying them?\u003c/p>\n\u003cp>I'm only speaking cinematically, of course. It seems like no disaster film would be complete without one of the following scenes: the Statue of Liberty (although you can also use the Eiffel Tower) either in great peril (\u003cem>Escape from New York\u003c/em>) or already blown to ruins (the original \u003cem>Planet of the Apes\u003c/em>), a government building blown to smithereens (The White House in \u003cem>Independence Day\u003c/em> and The Old Bailey and Houses of Parliament in \u003cem>V for Vendetta\u003c/em>) or (now pay attention here; it may come up later) the Golden Gate Bridge getting destroyed in every possible manner in so many different movies that it's almost a film sub-genre.\u003c/p>\n\u003cp>Even post 9/11, what is behind this need filmmakers have to destroy the landmarks of major cities? Or a better question might be: what is behind the need film audiences have to see landmarks destroyed on screen? By CGI-exploding the skylines of New York, Paris, London and yes, San Francisco, are moviegoers outside of urban areas validated in their decisions to live away from tall buildings that might attract terrorist threats/fall from natural disasters/be destroyed by Martians? Do urban audiences get to vent their frustration at city life by watching \u003cem>Godzilla\u003c/em> (\u003ca href=\"http://www.hollywoodreporter.com/heat-vision/new-godzilla-trailer-san-francisco-693791\">coming soon to destroy San Francisco in the newest incarnation\u003c/a>) or the \u003cem>Cloverfield\u003c/em> monster inhale a block of office buildings?\u003c/p>\n\u003cp>Once upon a time, I thought San Francisco's reputation for liberalism probably made it a crowd-pleasing target for movie destruction in more conservative regions. Is San Francisco now being popularly annihilated onscreen because audiences are mad about housing costs? And I think this bears repeating, what is this fixation with destroying the Golden Gate Bridge? In recognition of our unique status in the cinematic crosshairs, we compiled a list of some of the many films where San Francisco has been targeted, destroyed or taken over by alien invaders (no tech shuttle jokes, please).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>San Francisco\u003c/em>\u003c/strong> (1936)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/VAoNDihnfbc\u003c/p>\n\u003cp>In this classic starring Clark Gable, Spencer Tracy and Jeanette MacDonald, the Barbary Coast is decimated by the great quake of 1906, the mansions of Nob Hill are dynamited, and, no matter what happens, operatic soprano Jeanette MacDonald doesn't miss a note. Whether the roof falls in, the street gives way beneath her or the city burns, Jeanette just keeps \u003cem>singing\u003c/em>. Unless she's fainting.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Not applicable; it wasn't built yet.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em>\u003c/strong> (1955)\u003c/p>\n\u003cp>http://youtu.be/Xkymhit3Reg\u003c/p>\n\u003cp>In this typical atomic age monster movie, San Francisco is attacked by a giant octopus that wipes out the Ferry Building (but where will I buy organic lavender infused truffle oil now?!) and a chunk of the Embarcadero. In the end, the six-legged octopus (budget issues?) is driven back out to sea and nuked because what atomic weapons have created, atomic weapons can destroy.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Definitely. Old six legs wipes out a whole section in what may be the first big screen destruction of the bridge.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Towering Inferno\u003c/em>\u003c/strong> (1974)\u003c/p>\n\u003cp>http://youtu.be/nch1URmJvMA\u003c/p>\n\u003cp>This Irwin Allen disaster classic featured every star known to man in the early '70s from Paul Newman and Steve McQueen to Faye Dunaway, Dabney Coleman and (weirdly) O.J. Simpson and Fred Astaire. The world's tallest building (located in San Francisco) turns into -- you guessed it -- a towering inferno, when a fire breaks out at the opening night gala. It's basically \u003cem>The Poseidon Adventure \u003c/em>in a skyscraper.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No. The building going up in flames like a firecracker was all the destruction this movie needed. That and the expressions on Faye Dunaway's pre \u003cem>Mommie Dearest\u003c/em> face.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Invasions of the Body Snatchers\u003c/em>\u003c/strong> (1978)\u003c/p>\n\u003cp>http://youtu.be/GEdeXyqC-Ew\u003c/p>\n\u003cp>You thought gentrification was bad? Meet the original pod people in this sci-fi thriller. Donald Sutherland, Leonard Nimoy, Jeff Goldblum and Veronica Cartright try to fight off alien invaders in the City by the Bay with little success. The end result is bland, emotionless alien-humanoid hybrids. Basically, all of San Francisco becomes that time in the late '90s when people were trying to get their Prozac dosage correct.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Surprisingly, no. The only destruction here is of the body disintegrating variety. Say what you will, at least the Body Snatchers were tidy.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Superman\u003c/em>\u003c/strong> (1978)\u003c/p>\n\u003cp>http://youtu.be/XImPJl_mQOQ\u003c/p>\n\u003cp>Lex Luthor (played by the one and only Gene Hackman) sets off an earthquake designed to sink the California coast, including San Francisco. It's up to the Man of Steel (Christopher Reeves) to pull a Cher and turn back time so California stays above water.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No destruction, but Superman does save a school bus from going over the side. Trust me, if you grew up here and saw that scene as a kid, it stayed with you.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>A View to a Kill\u003c/em>\u003c/strong> (1986)\u003c/p>\n\u003cp>http://youtu.be/aSADSCCHDZg\u003c/p>\n\u003cp>In this extremely campy (but enjoyable) James Bond flick, Roger Moore as Agent 007 fights off Christopher Walken as a baddie who wants to detonate explosives at the San Andreas and Hayward faults. Not content with just another lame man-made earthquake, the filmmakers also set City Hall on fire, again, because we just can't resist destroying government buildings on screen. The film's best special effect by far remains Grace Jones.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No, but the film's final action sequence is an extended chase scene on the suspension cables with a henchmen tossing sticks of dynamite at Bond. Terrible for the paint.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Rock\u003c/em>\u003c/strong> (1996)\u003c/p>\n\u003cp>http://youtu.be/ClOQJAB0uD0\u003c/p>\n\u003cp>One minute you're peacefully visiting Alcatraz and the next you're being held hostage by Ed Harris. This is why you should never do touristy activities on vacay. Nicholas Cage and Sean Connery (already in his sixties here and better than ever) are tasked with rescuing the hostages and the citizens of San Francisco, who are being threatened with rockets armed with a deadly gas. Panic ensues on the streets, much like Bay to Breakers before the official sponsorship.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No, but Alcatraz takes it pretty hard.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>X-Men: The Last Stand\u003c/em>\u003c/strong> (2006)\u003c/p>\n\u003cp>http://youtu.be/mnTi2wMGJDU\u003c/p>\n\u003cp>When Alcatraz becomes the base for a \"mutant cure\" project, Magneto (Ian McKellan) and his Mutant Brotherhood attack the facility in the name of mutant rights. There's nothing wrong with them; they don't have to be \"cured.\" Wolverine (Hugh Jackman) and the rest of the X-Men charge in to stop the destruction of the Island, which was still recovering from the antics during \u003cem>The Rock.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Yes, and it's a doozy. Magneto actually lifts the bridge and turns it into a pathway to Alcatraz for his attack. Beautiful and terrifying all at once, mainly because I'm not 100% convinced Ian McKellan doesn't have powers.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Megashark vs. Giant Octopus\u003c/em>\u003c/strong> (2009)\u003c/p>\n\u003cp>http://youtu.be/qvciIVcn33c\u003c/p>\n\u003cp>No, it's not the Giant Octopus that imperils San Francisco in this Deborah Gibson/Lorenzo Lamas clunker. That would be redundant (see \u003cem>It Came From Beneath the Sea\u003c/em>). Rather, scientists lay a trap for top-billed Megashark in the Bay and it does not go well.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Megashark takes a megabite out of it!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Monsters vs. Aliens\u003c/em>\u003c/strong> (2009)\u003c/p>\n\u003cp>http://youtu.be/9ITeGRWcThw\u003c/p>\n\u003cp>Even cartoons are in on it. In this Dreamworks animation, a team of government \"monsters\" fight off an alien invasion. Among the alien's first stops on Earth? San Francisco! You know, to try some of our artisanal ice cream and price out residents in the Mission.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> There's a battle and some partial destruction of the bridge, because we're not even safe in cartoons!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Star Trek\u003c/em>\u003c/strong> (2009)\u003c/p>\n\u003cp>http://youtu.be/QP8L7aLDvAU\u003c/p>\n\u003cp>I'm going to be honest: I'm more of a \u003cem>Star Wars\u003c/em> fan than a Trekkie, so I may get the terminology wrong here. Here's my understanding of the 2009 reboot: villainous Captain Nero (Eric Bana) drills into the San Francisco Bay to deposit some kind of exploding red matter into the earth. Some other things happened, and then I figured out they don't have light sabers and sort of stopped paying attention.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Nope, but I bet they would have gone after the LucasFilm complex, if given the chance. Or maybe not, now that director J.J. Abrams is helming both franchises.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Terminator Salvation\u003c/em>\u003c/strong> (2009)\u003c/p>\n\u003cp>http://youtu.be/yBS5Elx635w\u003c/p>\n\u003cp>How's this for timely: Skynet, the tech force sentient computer that enslaves humanity, is based in San Francisco in this recent \u003cem>Terminator\u003c/em> sequel. John Connor (Christian Bale) leads an attack on the headquarters and, while the battle may be won, \"the war is just beginning.\"\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> I don't even think we \u003cem>see\u003c/em> the bridge in this movie. Hmm... Did Skynet destroy it years prior?\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Contagion\u003c/em>\u003c/strong> (2011)\u003c/p>\n\u003cp>http://youtu.be/4sYSyuuLk5g\u003c/p>\n\u003cp>It's not a monster or a terrorist that targets San Francisco this time; it's a disease. San Francisco is among the many infected cities in this film, a startling reminder of the AIDS epidemic for those that saw it here in the '80s and '90s.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> None.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Mission Impossible 4: Ghost Protocol\u003c/em>\u003c/strong> (2011)\u003c/p>\n\u003cp>http://youtu.be/V0LQnQSrC-g\u003c/p>\n\u003cp>In what feels like the tenth or eleventh in the seemingly infinite \u003cem>Mission Impossible\u003c/em> series, some kind of terrorist targets San Francisco with a missile from a Russian submarine. The specifics don't really matter. Just know we win and have Tom Cruise to thank for it, which is the point of all these movies.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> A near miss.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Rise of the Planet of the Apes \u003c/em>\u003c/strong>(2011)\u003c/p>\n\u003cp>http://youtu.be/oNfbCXFGsaY\u003c/p>\n\u003cp>In this \u003cem>Planet of the Apes\u003c/em> prequel, James Franco is a primatologist who creates/discovers the first sentient ape who will go on to father the race of super apes that take over the Earth. Doesn't it just seem like the kind of weird performance art Franco would actually do in real life?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> In one of the most magnificent shots in the film, the apes overrun the bridge swinging from suspension cables like aerial ballet artists. A breathtaking use of the iconic landmark.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12057\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/06/watch-san-francisco-fall-a-collection-of-the-most-destructive-movie-scenes/gg-bridge-destruction/\" rel=\"attachment wp-att-12057\">\u003cimg class=\"wp-image-12057 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/gg-bridge-destruction.jpg\" alt=\"gg-bridge-destruction\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/gg-bridge-destruction.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/gg-bridge-destruction-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: 20th Century Fox\u003c/figcaption>\u003c/figure>\n\u003cp>What is it about the human condition that makes man capable of creating things of great beauty (paintings, sculpture, fashion collections, entire cities even), and so fascinated with destroying them?\u003c/p>\n\u003cp>I'm only speaking cinematically, of course. It seems like no disaster film would be complete without one of the following scenes: the Statue of Liberty (although you can also use the Eiffel Tower) either in great peril (\u003cem>Escape from New York\u003c/em>) or already blown to ruins (the original \u003cem>Planet of the Apes\u003c/em>), a government building blown to smithereens (The White House in \u003cem>Independence Day\u003c/em> and The Old Bailey and Houses of Parliament in \u003cem>V for Vendetta\u003c/em>) or (now pay attention here; it may come up later) the Golden Gate Bridge getting destroyed in every possible manner in so many different movies that it's almost a film sub-genre.\u003c/p>\n\u003cp>Even post 9/11, what is behind this need filmmakers have to destroy the landmarks of major cities? Or a better question might be: what is behind the need film audiences have to see landmarks destroyed on screen? By CGI-exploding the skylines of New York, Paris, London and yes, San Francisco, are moviegoers outside of urban areas validated in their decisions to live away from tall buildings that might attract terrorist threats/fall from natural disasters/be destroyed by Martians? Do urban audiences get to vent their frustration at city life by watching \u003cem>Godzilla\u003c/em> (\u003ca href=\"http://www.hollywoodreporter.com/heat-vision/new-godzilla-trailer-san-francisco-693791\">coming soon to destroy San Francisco in the newest incarnation\u003c/a>) or the \u003cem>Cloverfield\u003c/em> monster inhale a block of office buildings?\u003c/p>\n\u003cp>Once upon a time, I thought San Francisco's reputation for liberalism probably made it a crowd-pleasing target for movie destruction in more conservative regions. Is San Francisco now being popularly annihilated onscreen because audiences are mad about housing costs? And I think this bears repeating, what is this fixation with destroying the Golden Gate Bridge? In recognition of our unique status in the cinematic crosshairs, we compiled a list of some of the many films where San Francisco has been targeted, destroyed or taken over by alien invaders (no tech shuttle jokes, please).\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>San Francisco\u003c/em>\u003c/strong> (1936)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VAoNDihnfbc'\n title='//www.youtube.com/embed/VAoNDihnfbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this classic starring Clark Gable, Spencer Tracy and Jeanette MacDonald, the Barbary Coast is decimated by the great quake of 1906, the mansions of Nob Hill are dynamited, and, no matter what happens, operatic soprano Jeanette MacDonald doesn't miss a note. Whether the roof falls in, the street gives way beneath her or the city burns, Jeanette just keeps \u003cem>singing\u003c/em>. Unless she's fainting.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Not applicable; it wasn't built yet.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em>\u003c/strong> (1955)\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/Xkymhit3Reg'\n title='//www.youtube.com/embed/Xkymhit3Reg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this typical atomic age monster movie, San Francisco is attacked by a giant octopus that wipes out the Ferry Building (but where will I buy organic lavender infused truffle oil now?!) and a chunk of the Embarcadero. In the end, the six-legged octopus (budget issues?) is driven back out to sea and nuked because what atomic weapons have created, atomic weapons can destroy.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Definitely. Old six legs wipes out a whole section in what may be the first big screen destruction of the bridge.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Towering Inferno\u003c/em>\u003c/strong> (1974)\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/nch1URmJvMA'\n title='//www.youtube.com/embed/nch1URmJvMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Irwin Allen disaster classic featured every star known to man in the early '70s from Paul Newman and Steve McQueen to Faye Dunaway, Dabney Coleman and (weirdly) O.J. Simpson and Fred Astaire. The world's tallest building (located in San Francisco) turns into -- you guessed it -- a towering inferno, when a fire breaks out at the opening night gala. It's basically \u003cem>The Poseidon Adventure \u003c/em>in a skyscraper.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No. The building going up in flames like a firecracker was all the destruction this movie needed. That and the expressions on Faye Dunaway's pre \u003cem>Mommie Dearest\u003c/em> face.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Invasions of the Body Snatchers\u003c/em>\u003c/strong> (1978)\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/GEdeXyqC-Ew'\n title='//www.youtube.com/embed/GEdeXyqC-Ew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You thought gentrification was bad? Meet the original pod people in this sci-fi thriller. Donald Sutherland, Leonard Nimoy, Jeff Goldblum and Veronica Cartright try to fight off alien invaders in the City by the Bay with little success. The end result is bland, emotionless alien-humanoid hybrids. Basically, all of San Francisco becomes that time in the late '90s when people were trying to get their Prozac dosage correct.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Surprisingly, no. The only destruction here is of the body disintegrating variety. Say what you will, at least the Body Snatchers were tidy.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Superman\u003c/em>\u003c/strong> (1978)\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/XImPJl_mQOQ'\n title='//www.youtube.com/embed/XImPJl_mQOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lex Luthor (played by the one and only Gene Hackman) sets off an earthquake designed to sink the California coast, including San Francisco. It's up to the Man of Steel (Christopher Reeves) to pull a Cher and turn back time so California stays above water.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No destruction, but Superman does save a school bus from going over the side. Trust me, if you grew up here and saw that scene as a kid, it stayed with you.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>A View to a Kill\u003c/em>\u003c/strong> (1986)\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/aSADSCCHDZg'\n title='//www.youtube.com/embed/aSADSCCHDZg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this extremely campy (but enjoyable) James Bond flick, Roger Moore as Agent 007 fights off Christopher Walken as a baddie who wants to detonate explosives at the San Andreas and Hayward faults. Not content with just another lame man-made earthquake, the filmmakers also set City Hall on fire, again, because we just can't resist destroying government buildings on screen. The film's best special effect by far remains Grace Jones.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No, but the film's final action sequence is an extended chase scene on the suspension cables with a henchmen tossing sticks of dynamite at Bond. Terrible for the paint.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>The Rock\u003c/em>\u003c/strong> (1996)\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/ClOQJAB0uD0'\n title='//www.youtube.com/embed/ClOQJAB0uD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One minute you're peacefully visiting Alcatraz and the next you're being held hostage by Ed Harris. This is why you should never do touristy activities on vacay. Nicholas Cage and Sean Connery (already in his sixties here and better than ever) are tasked with rescuing the hostages and the citizens of San Francisco, who are being threatened with rockets armed with a deadly gas. Panic ensues on the streets, much like Bay to Breakers before the official sponsorship.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> No, but Alcatraz takes it pretty hard.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>X-Men: The Last Stand\u003c/em>\u003c/strong> (2006)\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/mnTi2wMGJDU'\n title='//www.youtube.com/embed/mnTi2wMGJDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Alcatraz becomes the base for a \"mutant cure\" project, Magneto (Ian McKellan) and his Mutant Brotherhood attack the facility in the name of mutant rights. There's nothing wrong with them; they don't have to be \"cured.\" Wolverine (Hugh Jackman) and the rest of the X-Men charge in to stop the destruction of the Island, which was still recovering from the antics during \u003cem>The Rock.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Yes, and it's a doozy. Magneto actually lifts the bridge and turns it into a pathway to Alcatraz for his attack. Beautiful and terrifying all at once, mainly because I'm not 100% convinced Ian McKellan doesn't have powers.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Megashark vs. Giant Octopus\u003c/em>\u003c/strong> (2009)\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/qvciIVcn33c'\n title='//www.youtube.com/embed/qvciIVcn33c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No, it's not the Giant Octopus that imperils San Francisco in this Deborah Gibson/Lorenzo Lamas clunker. That would be redundant (see \u003cem>It Came From Beneath the Sea\u003c/em>). Rather, scientists lay a trap for top-billed Megashark in the Bay and it does not go well.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Megashark takes a megabite out of it!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Monsters vs. Aliens\u003c/em>\u003c/strong> (2009)\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/9ITeGRWcThw'\n title='//www.youtube.com/embed/9ITeGRWcThw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even cartoons are in on it. In this Dreamworks animation, a team of government \"monsters\" fight off an alien invasion. Among the alien's first stops on Earth? San Francisco! You know, to try some of our artisanal ice cream and price out residents in the Mission.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> There's a battle and some partial destruction of the bridge, because we're not even safe in cartoons!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Star Trek\u003c/em>\u003c/strong> (2009)\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/QP8L7aLDvAU'\n title='//www.youtube.com/embed/QP8L7aLDvAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I'm going to be honest: I'm more of a \u003cem>Star Wars\u003c/em> fan than a Trekkie, so I may get the terminology wrong here. Here's my understanding of the 2009 reboot: villainous Captain Nero (Eric Bana) drills into the San Francisco Bay to deposit some kind of exploding red matter into the earth. Some other things happened, and then I figured out they don't have light sabers and sort of stopped paying attention.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> Nope, but I bet they would have gone after the LucasFilm complex, if given the chance. Or maybe not, now that director J.J. Abrams is helming both franchises.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Terminator Salvation\u003c/em>\u003c/strong> (2009)\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/yBS5Elx635w'\n title='//www.youtube.com/embed/yBS5Elx635w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How's this for timely: Skynet, the tech force sentient computer that enslaves humanity, is based in San Francisco in this recent \u003cem>Terminator\u003c/em> sequel. John Connor (Christian Bale) leads an attack on the headquarters and, while the battle may be won, \"the war is just beginning.\"\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> I don't even think we \u003cem>see\u003c/em> the bridge in this movie. Hmm... Did Skynet destroy it years prior?\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Contagion\u003c/em>\u003c/strong> (2011)\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/4sYSyuuLk5g'\n title='//www.youtube.com/embed/4sYSyuuLk5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's not a monster or a terrorist that targets San Francisco this time; it's a disease. San Francisco is among the many infected cities in this film, a startling reminder of the AIDS epidemic for those that saw it here in the '80s and '90s.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> None.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Mission Impossible 4: Ghost Protocol\u003c/em>\u003c/strong> (2011)\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/V0LQnQSrC-g'\n title='//www.youtube.com/embed/V0LQnQSrC-g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In what feels like the tenth or eleventh in the seemingly infinite \u003cem>Mission Impossible\u003c/em> series, some kind of terrorist targets San Francisco with a missile from a Russian submarine. The specifics don't really matter. Just know we win and have Tom Cruise to thank for it, which is the point of all these movies.\u003c/p>\n\u003cp>\u003cstrong>Destruction of Golden Gate Bridge? \u003c/strong> A near miss.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>\u003cem>Rise of the Planet of the Apes \u003c/em>\u003c/strong>(2011)\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/oNfbCXFGsaY'\n title='//www.youtube.com/embed/oNfbCXFGsaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this \u003cem>Planet of the Apes\u003c/em> prequel, James Franco is a primatologist who creates/discovers the first sentient ape who will go on to father the race of super apes that take over the Earth. Doesn't it just seem like the kind of weird performance art Franco would actually do in real life?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "What Effect Does Princess Culture Have On Young Boys?",
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"content": "\u003cfigure id=\"attachment_12021\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/06/what-effect-does-princess-culture-have-on-young-boys-frozen-disney/disney-princess/\" rel=\"attachment wp-att-12021\">\u003cimg class=\"wp-image-12021 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/disney-princess.jpg\" alt=\"disney-princess\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/disney-princess.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/disney-princess-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://silentmermaid21.deviantart.com/art/Disney-Princesses-Magic-Dreams-289410477\">Silent Mermaid\u003c/a>, via deviantart\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Nnekay FitzClarke\u003c/strong>\u003c/p>\n\u003cp>Fairy tales have been shaping the lives and expectations of children all over the planet for generations. Ask any person from 5 to 105 to rattle off the common themes and you’ll get the same responses: the castle, the knight in fancy armor, a beast who may or may not breath fire, a good chunk of magic, a prince riding around on his horse, and, last but not least, the princess who always seems to finds herself in a situation she needs saving from.\u003c/p>\n\u003cp>Obviously, the trope of the ever-in-peril princess is problematic. It teaches young girls that their value is in their appearance (\"the fairest of them all\"), that they ought to be passive bystanders (looking at you, Sleeping Beauty), and put all trust in a man (chilln’ in dis tower #bored). There are countless articles, classes, and books written about the dangers of the princess in peril, but Hollywood has thankfully started to take notice.\u003c/p>\n\u003cp>Take, for instance, the newest Disney venture \u003cem>Frozen\u003c/em>, which has been making the rounds as the “anti-princess” princess movie. Two princesses for the price of one, kicking butt and taking names, espousing the notion that sisterly love is the most important of all. Disney’s penance for decades of helpless princesses has been gobbled up by kids and adults alike and is definitely a step in the right direction for fairy tales, yet… something rang mighty familiar when Princess Anna met her eventual love interest, Kristoff. Just to quickly summarize: Anna is out on a hunt to find her sister and happens to go into a small trading post. While there, she runs into Kristoff, an average ice-cutting dude. Their meeting eventually leads to the reveal: “Surprise! I’m a princess!” And then they go off to save the day.\u003c/p>\n\u003cp>Kristoff joins a long line of average dudes who happened to have stumbled on a princess. This plot device has been around for a very long time, starting with the premier hidden princess movie, \u003cem>Roman Holiday,\u003c/em> in which Gregory Peck fumbles behind Audrey Hepburn as she cavorts around Italy doing exciting things like getting a haircut. There are problematic versions of this trope like Disney’s highly scrubbed version of \u003cem>Pocahontas\u003c/em>. The true story of course was a little less “meet cute” and more brutal diplomacy. James Cameron thought \u003cem>Pocahontas\u003c/em> was such a great movie that he was inspired to add a splash of \u003cem>FernGully\u003c/em> and call it \u003cem>Avatar\u003c/em>. The list continues with slight variations here and there, including but not limited to: \u003cem>Splash \u003c/em>(mermaids love Tom Hanks), \u003cem>Aladdin \u003c/em>(princesses and gutter punks 4eva), \u003cem>Dances with Wolves \u003c/em>(don’t mess with the medicine man’s white daughter), and \u003cem>Notting Hill\u003c/em> (the American princess: a tacky celebrity). You can easily find this theme in song lyrics as well: \"Rich Girl\" by Hall and Oates, \"Uptown Girl\" by Billy Joel, and \"Common People\"\u003cem> \u003c/em>by Pulp, just to name a few.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Stumbling on a Princess Trope has worked its way into the fabric of our common narrative, and has given young boys an unhealthy set of unattainable standards for their future partners. If all of these average men in movies and songs can land a rich, powerful, beautiful woman with little to no effort, they can expect the same, right? It’s fair to say that most men realize that these stories are fantasy, but the idea of an unrealistically majestic woman is still internalized on some level.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What if we stopped putting so much focus on finding that special prince/princess to save our averages lives, and promoted stories of average folks using their own wit and expertise to overcome extraordinary circumstances instead? What if we prepared our youth for a lifetime of adventure by allowing them to get lost in fantasies that revolve around people like them, who learn their greatness and worth by what they do, not who they are or who they bump into? \u003cem>Frozen\u003c/em> is a sign of progress, but we've got a long way to go.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12021\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/05/06/what-effect-does-princess-culture-have-on-young-boys-frozen-disney/disney-princess/\" rel=\"attachment wp-att-12021\">\u003cimg class=\"wp-image-12021 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/05/disney-princess.jpg\" alt=\"disney-princess\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/05/disney-princess.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/05/disney-princess-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://silentmermaid21.deviantart.com/art/Disney-Princesses-Magic-Dreams-289410477\">Silent Mermaid\u003c/a>, via deviantart\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Nnekay FitzClarke\u003c/strong>\u003c/p>\n\u003cp>Fairy tales have been shaping the lives and expectations of children all over the planet for generations. Ask any person from 5 to 105 to rattle off the common themes and you’ll get the same responses: the castle, the knight in fancy armor, a beast who may or may not breath fire, a good chunk of magic, a prince riding around on his horse, and, last but not least, the princess who always seems to finds herself in a situation she needs saving from.\u003c/p>\n\u003cp>Obviously, the trope of the ever-in-peril princess is problematic. It teaches young girls that their value is in their appearance (\"the fairest of them all\"), that they ought to be passive bystanders (looking at you, Sleeping Beauty), and put all trust in a man (chilln’ in dis tower #bored). There are countless articles, classes, and books written about the dangers of the princess in peril, but Hollywood has thankfully started to take notice.\u003c/p>\n\u003cp>Take, for instance, the newest Disney venture \u003cem>Frozen\u003c/em>, which has been making the rounds as the “anti-princess” princess movie. Two princesses for the price of one, kicking butt and taking names, espousing the notion that sisterly love is the most important of all. Disney’s penance for decades of helpless princesses has been gobbled up by kids and adults alike and is definitely a step in the right direction for fairy tales, yet… something rang mighty familiar when Princess Anna met her eventual love interest, Kristoff. Just to quickly summarize: Anna is out on a hunt to find her sister and happens to go into a small trading post. While there, she runs into Kristoff, an average ice-cutting dude. Their meeting eventually leads to the reveal: “Surprise! I’m a princess!” And then they go off to save the day.\u003c/p>\n\u003cp>Kristoff joins a long line of average dudes who happened to have stumbled on a princess. This plot device has been around for a very long time, starting with the premier hidden princess movie, \u003cem>Roman Holiday,\u003c/em> in which Gregory Peck fumbles behind Audrey Hepburn as she cavorts around Italy doing exciting things like getting a haircut. There are problematic versions of this trope like Disney’s highly scrubbed version of \u003cem>Pocahontas\u003c/em>. The true story of course was a little less “meet cute” and more brutal diplomacy. James Cameron thought \u003cem>Pocahontas\u003c/em> was such a great movie that he was inspired to add a splash of \u003cem>FernGully\u003c/em> and call it \u003cem>Avatar\u003c/em>. The list continues with slight variations here and there, including but not limited to: \u003cem>Splash \u003c/em>(mermaids love Tom Hanks), \u003cem>Aladdin \u003c/em>(princesses and gutter punks 4eva), \u003cem>Dances with Wolves \u003c/em>(don’t mess with the medicine man’s white daughter), and \u003cem>Notting Hill\u003c/em> (the American princess: a tacky celebrity). You can easily find this theme in song lyrics as well: \"Rich Girl\" by Hall and Oates, \"Uptown Girl\" by Billy Joel, and \"Common People\"\u003cem> \u003c/em>by Pulp, just to name a few.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Stumbling on a Princess Trope has worked its way into the fabric of our common narrative, and has given young boys an unhealthy set of unattainable standards for their future partners. If all of these average men in movies and songs can land a rich, powerful, beautiful woman with little to no effort, they can expect the same, right? It’s fair to say that most men realize that these stories are fantasy, but the idea of an unrealistically majestic woman is still internalized on some level.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What if we stopped putting so much focus on finding that special prince/princess to save our averages lives, and promoted stories of average folks using their own wit and expertise to overcome extraordinary circumstances instead? What if we prepared our youth for a lifetime of adventure by allowing them to get lost in fantasies that revolve around people like them, who learn their greatness and worth by what they do, not who they are or who they bump into? \u003cem>Frozen\u003c/em> is a sign of progress, but we've got a long way to go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dishing On Films With Legendary Critic David Thomson",
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"content": "\u003cp>Any film fanatic who has flipped through an edition of David Thomson’s \u003cem>New Biographical Dictionary of Film \u003c/em>has probably found themselves alternating between rigorous head-nodding and violent head-shaking as they make their way through the different entries. Such is the power of his opinions on cinema to provoke, challenge and engage.\u003c/p>\n\u003cp>That book was named in a 2010 poll of international film writers as the best film book of all time. The Atlantic called Thomson “the greatest living film critic and historian,” and the writer of “the most fun and enthralling prose about the movies since Pauline Kael.”\u003c/p>\n\u003cfigure id=\"attachment_10135419\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SFIFF57_Thomson_011-e1399042714816.jpg\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SFIFF57_Thomson_011-928x1440.jpg\" alt=\"David Thomson, recipient of the Mel Novikoff Award at the 57th San Francisco International Film Festival.\" width=\"500\" class=\"size-large wp-image-10135419\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Thomson, recipient of the Mel Novikoff Award at the 57th San Francisco International Film Festival. \u003ccite>(Courtesty SFIFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday, May 4, the 57th San Francisco International Film Festival will present the 2014 \u003ca href=\"http://www.sffs.org/festival-home/festival-guide/awards-and-tributes/mel-novikoff-award\">Mel Novikoff Award\u003c/a> to Thomson, “for his lifelong commitment to international cinema and expanding the film-going public’s appreciation of it.” Following the presentation at Sundance Kabuki Cinemas, there will be an onstage conversation between Thomson and author Geoff Dyer, and a screening of \u003cem>The Lady Eve\u003c/em>, personally selected by Thomson.\u003c/p>\n\u003cp>Last week, I talked with the author over the phone about cinema. Here is an edited transcript of our conversation:\u003c/p>\n\u003cp>\u003cstrong>Jon Brooks: \u003c/strong>So why did you pick \u003cem>The Lady Eve\u003c/em> to show when you receive the award?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>David Thomson\u003c/strong>: I have noted that audiences at film festivals get a little beaten down by the concentration on drama and tragedy and grim stuff. I have heard people says toward the end ‘wouldn’t it be great to have a comedy?’ So I went to an area I love, American screwball comedy, late 30s and 40s. \u003cem>Lady Eve\u003c/em> is a great example of that.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Your \u003cem>New Biographical Dictionary of Film\u003c/em> was voted the best film book of all time. In your opinion, is there a \u003cem>second\u003c/em> best film book?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: I didn’t vote in that, by the way. But one of the books I go back to is Stephen Bach’s \u003ca href=\"http://whatculture.com/film/the-great-movie-books-1-final-cut-by-steven-bach.php\">\u003ci>Final Cut,\u003c/i>\u003c/a> about the making of \u003ci>Heaven’s Gate\u003c/i> and the collapse of United Artists. I love books that give you a real sense of what happens on the making of a film.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Who are some film critics you admire?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: \u003ca href=\"//www.google.com/search?q=dily+powell\">Dilys Powell \u003c/a>in England had a big influence on me because I didn’t really understand yet that people could write about films. Beyond that a lot of the French writers on \u003ca href=\"http://www.cahiersducinema.com/\">Cahiers du Cinema\u003c/a> had a big impact. And then I would say \u003ca href=\"https://www.google.com/search?q=mannny+farbe\" target=\"_blank\" rel=\"noopener\">Manny Farber\u003c/a>, \u003ca href=\"https://www.google.com/search?q=pauline+kael\" target=\"_blank\" rel=\"noopener\">Pauline Kael\u003c/a>, \u003ca href=\"https://www.google.com/search?q=andrew+sarris\" target=\"_blank\" rel=\"noopener\">Andrew Sarris\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Marilyn Monroe appears on the cover of your latest \u003ca href=\"//www.randomhouse.com/book/178394/the-new-biographical-dictionary-of-film-by-david-thomson%E2%80%9D\">update to the New Biographical Dictionary of Film\u003c/a>, replacing an image from \u003ci>There Will Be Blood\u003c/i>. On other editions, images from\u003cem> To Have and Have Not\u003c/em> and \u003cem>The Godfather \u003c/em>have appeared on the cover. How are those decided upon?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: The publishers take their jackets very seriously and in fact the first three editions did not have a picture on the cover. After the fourth, we thought let’s risk a picture. I talked to the editor and the jacket designer and we thought it should be a golden age Hollywood image. I was asked to come up with a group of pictures and the one from \u003cem>To Have and Have Not\u003c/em> made a pleasing jacket .\u003c/p>\n\u003cp>For Edition Five we went to color and they said let’s have a more modern picture, and I picked the one from \u003cem>There Will Be Blood.\u003c/em> But I think it was a little too outside the mainstream and I don’t think as a jacket it did quite as well.\u003c/p>\n\u003cp>So this time we harkened to tradition and the jacket designer, Carol Carson (who’s a genius), came up with this silhouette of Marilyn Monroe, and she came up with a design that is irresistible.\u003c/p>\n\u003cp>\u003cstrong>JB\u003c/strong>: Let’s talk about the \u003ca href=\"http://www.bfi.org.uk/news/50-greatest-films-all-time\" target=\"_blank\" rel=\"noopener\">Sight and Sound poll\u003c/a> they do every 10 years asking critics to pick the best films ever made. Last year I heard you say that Michael Haneke’s \u003ca href=\"http://www.newrepublic.com/article/books-and-arts/110998/the-best-movie-the-year-michael-hanekes-amour\" target=\"_blank\" rel=\"noopener\">\u003ci>Amour\u003c/i>\u003c/a> would now be on your top-10 list, right up there with \u003ci>Citizen Kane\u003c/i> and \u003ci>His Girl Friday\u003c/i>. Why?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: I think that it is about ultimate subjects, love and death and home, and they’re treated very seriously. It has an intensity that never lets up, It’s just very, very emotional, and the simplicity of the story deepens as the film goes on.\u003c/p>\n\u003cp>It’s also got two actors (Jean-Louis Trintignant and Emmanuelle Riva) I’ve grown up with and grown old with and it’s very touching to see two people who were once young and glorious at the end of their life and dealing with that.\u003c/p>\n\u003cp>I think it’s an example of a principle I really believe in: In an age of special effects, the most special effect of all is the human face.\u003c/p>\n\u003cp>\u003cb>JB: \u003c/b>If you’re a dissenting opinion on a movie among critics, do you ever go back and look at the film again to see if there’s something that maybe you missed?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: When you’re writing and thinking about a film, you probably don’t put too much weight into what other people are saying, because it’s very important you work out what you think. But as time passes the movie changes. Of course it doesn’t, really, \u003cem>you\u003c/em> change–you’re seeing less or you’re seeing more. There are plenty of instances where I’ve gone back to a film probably years later and seen different things and have felt differently about them.\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> Can you give an example?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: The first time I saw \u003ca href=\"http://books.google.com/books?id=OfpFCblxobkC&pg=PA535&lpg=PA535&dq=mccabe+and+mrs+miller+david+thomson&source=bl&ots=s6CGyF0wMz&sig=IPFP1ux91ewabGOtu0kGrl9AAuM&hl=en&sa=X&ei=a61iU47jHoK_oQTAwID4Bg&ved=0CDkQ6AEwAQ#v=onepage&q=mccabe%20and%20mrs%20miller%20david%20thomson&f=false\" target=\"_blank\" rel=\"noopener\">\u003ci>McCabe and Mrs. Miller\u003c/i>\u003c/a> I thought it was a mess. I had great trouble hearing what was said, for instance, and I think I came to it anticipating certain western genre codes, which weren’t in the film. I realized gradually over time the failure was mine and the film was a little different from what I anticipated. I like it very much now.\u003c/p>\n\u003cp>Equally there are films I loved when I saw them which over time I’ve begun to think rather less of. An example of that is \u003ci>The Searchers\u003c/i>. I have loved it, but the more i think about it and the more I look at it the phonier I think it is.\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> One dissenting opinion of yours that stands out is on \u003ci>2001. \u003c/i>It’s No. 6 on the all-time-best poll, but you called it “a lavish travesty and an elaborate defense of vacancy or the reluctance to use real imagination.” Why do you say that?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: I think it’s a very bad film! I think Kubrick was a man with immense talent and great pretensions. He’s made several pretty awful films as well as several extraordinary ones. \u003ci>2001\u003c/i> is empty and striving for meaning it never comes to grips with. It doesn’t bother me one bit that it’s high up on the polls. You know from the study of polls that fools and scoundrels often get elected.\u003c/p>\n\u003cp>\u003cb>JB: \u003c/b>One last question regarding that poll. \u003ci>Bicycle Thieves\u003c/i> was voted the best film ever in 1952 and No. 7 in 1962, then has dropped off the top 10 since, to where it was way down at No. 33 in 2012. Why do you think critical consensus on a film like that changes so much?\u003c/p>\n\u003cp>\u003cb>DT:\u003c/b> That’s a very good example of what history has done. Only a few years after the war, that film blew people away, I think because it revealed a kind of life that war had led to and was horrifying. It was made with deep realistic convictions of the time. I think gradually over the years it has become more dated, because what we think of as realism changes very fast. It’s a critical term that’s always shifting. I think now it looks like a rather contrived, sentimental film. That doesn’t take away from the fact that it was a sensation when it opened.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>What do you make of the fact that film production is virtually entirely digital — now there is no more “film” in film? Do you think that’s a loss for movie culture?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: There have been technological changes in the history of film that are absolutely irreversible, and it’s hopeless to stand in the way of them. It’s a medium that’s driven as much by machinery as anything else . But I think it’s a great loss. Film had a beauty that was very special and it imposed certain disciplines that came with the craft of working with it, particularly in editing, which has changed enormously with the electronic revolution. When you were actually holding pieces of film in your hand things were done with the rhythm of editing that have been lost in the new machinery of it. And I think there was a greater “compositional” beauty when film stock had to be used.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Sometimes when I go to the movies and sit through the previews for big-budget f/x films, there seems to be an almost palpable yawn from the audience. Do you think filmgoers are jaded, that there is no more sense of wonder in the movies?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: (Emphatically) Definitely, definitely. Young people today are conditioned by the fact that we’re used to seeing things on tiny screens, where the visual impact cannot be as great. So we begin to think that visual impact is no longer what it used to be, and filmmakers don’t put a lot of effort into it. They think if they throw money into special effects they’ll produce something interesting.\u003c/p>\n\u003cp>Equally, film has told the same stories so many times, people get blase about them. It’s very difficult to produce a new kind of story. I think it’s as true now as it’s ever been, that people go to the movies in hopes they’re going to see a story they’ve never seen before. So that mood — call it jaded or cynicism — is definitely out there, and if i were in the business I would be very frightened, because it means people don’t care in the same way.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>With such enormous shifts happening in the production and business of movies, how do you see the industry faring?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: It depends on what you mean by “the industry.” I think mainstream American filmmaking is in a very bad state. However I think long-form television in America is about as good as its ever been. A lot of people who would call themselves film buffs spend more time watching TV like “Breaking Bad,” “The Wire,” “True Detective,” “Homeland.” There’s a lot of very good work being done there. There’s still an enormous public appetite for stories that seem fresh and important and compelling, with good writing and good action. That’s as true now as it was in the 1930s. If you can find a way of doing it and the medium to do it in, there’s an audience. I think we’re seeing a shift, and the idea of making good, popular entertainment films that open in 3000 theaters, that’s in a very perilous place.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Whatever happened to film movements, like the French New Wave, Das Neue Kino, Dogme 95. Are movements still happening?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: These movements are largely in the minds of writers. The French New Wave is a phenomenon that was identified by journalists and talked about. It was true that a whole bunch of French young people got to make films at same time. But they didn’t all talk to each other; they weren’t a club. The New Wave is a concept in the minds of journalists and teachers and so on. You could argue that long-form TV today is a movement. There are longform directors in TV who have never made a movie. Someone like \u003ca href=\"https://www.google.com/search?q=tim+van+patten\" target=\"_blank\" rel=\"noopener\">Tim Van Patten\u003c/a> — he’s directed some of the best TV in the last 10 years. There’s a natural grouping there.\u003c/p>\n\u003cp>There is clearly an independent film movement in this country, but it doesn’t mean they all talk to one another. Festivals like Sundance are their natural meeting place. If I say to you it’s a kind of “Sundance film” you more or less know what I mean. I think movements like that can exist.\u003c/p>\n\u003cp>I think we’re about to see an explosion in filmmaking in Africa and parts of the Middle East that was the same thing as in Iran five years ago, where it was partly about the political situation and fighting censorship. So if we had a disaster affect the American economy, a massive depression bigger than 2008, it would bring a natural group of artists to the fore that would start to make angry films. It’s perfectly possible.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Finally, a question you probably get a lot: Why is the trend of remakes and reboots so pervasive?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: Because the film business has always been so witless and so unimaginative and so scared that they would much rather remake something that has been successful. But that goes back to the beginning; that’s why people said, “Let’s make a Joan Crawford film,” which required them to define what kind of film that is. But there’s a good side to that — the public is eager for the unexpected.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>David Thomson’s\u003ca href=\"http://www.randomhouse.com/book/178394/the-new-biographical-dictionary-of-film-by-david-thomson\" target=\"_blank\" rel=\"noopener\"> The New Biographical Dictionary of Film Sixth Edition\u003c/a> goes on sale May 6. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Any film fanatic who has flipped through an edition of David Thomson’s \u003cem>New Biographical Dictionary of Film \u003c/em>has probably found themselves alternating between rigorous head-nodding and violent head-shaking as they make their way through the different entries. Such is the power of his opinions on cinema to provoke, challenge and engage.\u003c/p>\n\u003cp>That book was named in a 2010 poll of international film writers as the best film book of all time. The Atlantic called Thomson “the greatest living film critic and historian,” and the writer of “the most fun and enthralling prose about the movies since Pauline Kael.”\u003c/p>\n\u003cfigure id=\"attachment_10135419\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SFIFF57_Thomson_011-e1399042714816.jpg\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/SFIFF57_Thomson_011-928x1440.jpg\" alt=\"David Thomson, recipient of the Mel Novikoff Award at the 57th San Francisco International Film Festival.\" width=\"500\" class=\"size-large wp-image-10135419\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Thomson, recipient of the Mel Novikoff Award at the 57th San Francisco International Film Festival. \u003ccite>(Courtesty SFIFF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sunday, May 4, the 57th San Francisco International Film Festival will present the 2014 \u003ca href=\"http://www.sffs.org/festival-home/festival-guide/awards-and-tributes/mel-novikoff-award\">Mel Novikoff Award\u003c/a> to Thomson, “for his lifelong commitment to international cinema and expanding the film-going public’s appreciation of it.” Following the presentation at Sundance Kabuki Cinemas, there will be an onstage conversation between Thomson and author Geoff Dyer, and a screening of \u003cem>The Lady Eve\u003c/em>, personally selected by Thomson.\u003c/p>\n\u003cp>Last week, I talked with the author over the phone about cinema. Here is an edited transcript of our conversation:\u003c/p>\n\u003cp>\u003cstrong>Jon Brooks: \u003c/strong>So why did you pick \u003cem>The Lady Eve\u003c/em> to show when you receive the award?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>David Thomson\u003c/strong>: I have noted that audiences at film festivals get a little beaten down by the concentration on drama and tragedy and grim stuff. I have heard people says toward the end ‘wouldn’t it be great to have a comedy?’ So I went to an area I love, American screwball comedy, late 30s and 40s. \u003cem>Lady Eve\u003c/em> is a great example of that.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Your \u003cem>New Biographical Dictionary of Film\u003c/em> was voted the best film book of all time. In your opinion, is there a \u003cem>second\u003c/em> best film book?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: I didn’t vote in that, by the way. But one of the books I go back to is Stephen Bach’s \u003ca href=\"http://whatculture.com/film/the-great-movie-books-1-final-cut-by-steven-bach.php\">\u003ci>Final Cut,\u003c/i>\u003c/a> about the making of \u003ci>Heaven’s Gate\u003c/i> and the collapse of United Artists. I love books that give you a real sense of what happens on the making of a film.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Who are some film critics you admire?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: \u003ca href=\"//www.google.com/search?q=dily+powell\">Dilys Powell \u003c/a>in England had a big influence on me because I didn’t really understand yet that people could write about films. Beyond that a lot of the French writers on \u003ca href=\"http://www.cahiersducinema.com/\">Cahiers du Cinema\u003c/a> had a big impact. And then I would say \u003ca href=\"https://www.google.com/search?q=mannny+farbe\" target=\"_blank\" rel=\"noopener\">Manny Farber\u003c/a>, \u003ca href=\"https://www.google.com/search?q=pauline+kael\" target=\"_blank\" rel=\"noopener\">Pauline Kael\u003c/a>, \u003ca href=\"https://www.google.com/search?q=andrew+sarris\" target=\"_blank\" rel=\"noopener\">Andrew Sarris\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Marilyn Monroe appears on the cover of your latest \u003ca href=\"//www.randomhouse.com/book/178394/the-new-biographical-dictionary-of-film-by-david-thomson%E2%80%9D\">update to the New Biographical Dictionary of Film\u003c/a>, replacing an image from \u003ci>There Will Be Blood\u003c/i>. On other editions, images from\u003cem> To Have and Have Not\u003c/em> and \u003cem>The Godfather \u003c/em>have appeared on the cover. How are those decided upon?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: The publishers take their jackets very seriously and in fact the first three editions did not have a picture on the cover. After the fourth, we thought let’s risk a picture. I talked to the editor and the jacket designer and we thought it should be a golden age Hollywood image. I was asked to come up with a group of pictures and the one from \u003cem>To Have and Have Not\u003c/em> made a pleasing jacket .\u003c/p>\n\u003cp>For Edition Five we went to color and they said let’s have a more modern picture, and I picked the one from \u003cem>There Will Be Blood.\u003c/em> But I think it was a little too outside the mainstream and I don’t think as a jacket it did quite as well.\u003c/p>\n\u003cp>So this time we harkened to tradition and the jacket designer, Carol Carson (who’s a genius), came up with this silhouette of Marilyn Monroe, and she came up with a design that is irresistible.\u003c/p>\n\u003cp>\u003cstrong>JB\u003c/strong>: Let’s talk about the \u003ca href=\"http://www.bfi.org.uk/news/50-greatest-films-all-time\" target=\"_blank\" rel=\"noopener\">Sight and Sound poll\u003c/a> they do every 10 years asking critics to pick the best films ever made. Last year I heard you say that Michael Haneke’s \u003ca href=\"http://www.newrepublic.com/article/books-and-arts/110998/the-best-movie-the-year-michael-hanekes-amour\" target=\"_blank\" rel=\"noopener\">\u003ci>Amour\u003c/i>\u003c/a> would now be on your top-10 list, right up there with \u003ci>Citizen Kane\u003c/i> and \u003ci>His Girl Friday\u003c/i>. Why?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: I think that it is about ultimate subjects, love and death and home, and they’re treated very seriously. It has an intensity that never lets up, It’s just very, very emotional, and the simplicity of the story deepens as the film goes on.\u003c/p>\n\u003cp>It’s also got two actors (Jean-Louis Trintignant and Emmanuelle Riva) I’ve grown up with and grown old with and it’s very touching to see two people who were once young and glorious at the end of their life and dealing with that.\u003c/p>\n\u003cp>I think it’s an example of a principle I really believe in: In an age of special effects, the most special effect of all is the human face.\u003c/p>\n\u003cp>\u003cb>JB: \u003c/b>If you’re a dissenting opinion on a movie among critics, do you ever go back and look at the film again to see if there’s something that maybe you missed?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: When you’re writing and thinking about a film, you probably don’t put too much weight into what other people are saying, because it’s very important you work out what you think. But as time passes the movie changes. Of course it doesn’t, really, \u003cem>you\u003c/em> change–you’re seeing less or you’re seeing more. There are plenty of instances where I’ve gone back to a film probably years later and seen different things and have felt differently about them.\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> Can you give an example?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: The first time I saw \u003ca href=\"http://books.google.com/books?id=OfpFCblxobkC&pg=PA535&lpg=PA535&dq=mccabe+and+mrs+miller+david+thomson&source=bl&ots=s6CGyF0wMz&sig=IPFP1ux91ewabGOtu0kGrl9AAuM&hl=en&sa=X&ei=a61iU47jHoK_oQTAwID4Bg&ved=0CDkQ6AEwAQ#v=onepage&q=mccabe%20and%20mrs%20miller%20david%20thomson&f=false\" target=\"_blank\" rel=\"noopener\">\u003ci>McCabe and Mrs. Miller\u003c/i>\u003c/a> I thought it was a mess. I had great trouble hearing what was said, for instance, and I think I came to it anticipating certain western genre codes, which weren’t in the film. I realized gradually over time the failure was mine and the film was a little different from what I anticipated. I like it very much now.\u003c/p>\n\u003cp>Equally there are films I loved when I saw them which over time I’ve begun to think rather less of. An example of that is \u003ci>The Searchers\u003c/i>. I have loved it, but the more i think about it and the more I look at it the phonier I think it is.\u003c/p>\n\u003cp>\u003cb>JB:\u003c/b> One dissenting opinion of yours that stands out is on \u003ci>2001. \u003c/i>It’s No. 6 on the all-time-best poll, but you called it “a lavish travesty and an elaborate defense of vacancy or the reluctance to use real imagination.” Why do you say that?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: I think it’s a very bad film! I think Kubrick was a man with immense talent and great pretensions. He’s made several pretty awful films as well as several extraordinary ones. \u003ci>2001\u003c/i> is empty and striving for meaning it never comes to grips with. It doesn’t bother me one bit that it’s high up on the polls. You know from the study of polls that fools and scoundrels often get elected.\u003c/p>\n\u003cp>\u003cb>JB: \u003c/b>One last question regarding that poll. \u003ci>Bicycle Thieves\u003c/i> was voted the best film ever in 1952 and No. 7 in 1962, then has dropped off the top 10 since, to where it was way down at No. 33 in 2012. Why do you think critical consensus on a film like that changes so much?\u003c/p>\n\u003cp>\u003cb>DT:\u003c/b> That’s a very good example of what history has done. Only a few years after the war, that film blew people away, I think because it revealed a kind of life that war had led to and was horrifying. It was made with deep realistic convictions of the time. I think gradually over the years it has become more dated, because what we think of as realism changes very fast. It’s a critical term that’s always shifting. I think now it looks like a rather contrived, sentimental film. That doesn’t take away from the fact that it was a sensation when it opened.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>What do you make of the fact that film production is virtually entirely digital — now there is no more “film” in film? Do you think that’s a loss for movie culture?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: There have been technological changes in the history of film that are absolutely irreversible, and it’s hopeless to stand in the way of them. It’s a medium that’s driven as much by machinery as anything else . But I think it’s a great loss. Film had a beauty that was very special and it imposed certain disciplines that came with the craft of working with it, particularly in editing, which has changed enormously with the electronic revolution. When you were actually holding pieces of film in your hand things were done with the rhythm of editing that have been lost in the new machinery of it. And I think there was a greater “compositional” beauty when film stock had to be used.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Sometimes when I go to the movies and sit through the previews for big-budget f/x films, there seems to be an almost palpable yawn from the audience. Do you think filmgoers are jaded, that there is no more sense of wonder in the movies?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: (Emphatically) Definitely, definitely. Young people today are conditioned by the fact that we’re used to seeing things on tiny screens, where the visual impact cannot be as great. So we begin to think that visual impact is no longer what it used to be, and filmmakers don’t put a lot of effort into it. They think if they throw money into special effects they’ll produce something interesting.\u003c/p>\n\u003cp>Equally, film has told the same stories so many times, people get blase about them. It’s very difficult to produce a new kind of story. I think it’s as true now as it’s ever been, that people go to the movies in hopes they’re going to see a story they’ve never seen before. So that mood — call it jaded or cynicism — is definitely out there, and if i were in the business I would be very frightened, because it means people don’t care in the same way.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>With such enormous shifts happening in the production and business of movies, how do you see the industry faring?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: It depends on what you mean by “the industry.” I think mainstream American filmmaking is in a very bad state. However I think long-form television in America is about as good as its ever been. A lot of people who would call themselves film buffs spend more time watching TV like “Breaking Bad,” “The Wire,” “True Detective,” “Homeland.” There’s a lot of very good work being done there. There’s still an enormous public appetite for stories that seem fresh and important and compelling, with good writing and good action. That’s as true now as it was in the 1930s. If you can find a way of doing it and the medium to do it in, there’s an audience. I think we’re seeing a shift, and the idea of making good, popular entertainment films that open in 3000 theaters, that’s in a very perilous place.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Whatever happened to film movements, like the French New Wave, Das Neue Kino, Dogme 95. Are movements still happening?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: These movements are largely in the minds of writers. The French New Wave is a phenomenon that was identified by journalists and talked about. It was true that a whole bunch of French young people got to make films at same time. But they didn’t all talk to each other; they weren’t a club. The New Wave is a concept in the minds of journalists and teachers and so on. You could argue that long-form TV today is a movement. There are longform directors in TV who have never made a movie. Someone like \u003ca href=\"https://www.google.com/search?q=tim+van+patten\" target=\"_blank\" rel=\"noopener\">Tim Van Patten\u003c/a> — he’s directed some of the best TV in the last 10 years. There’s a natural grouping there.\u003c/p>\n\u003cp>There is clearly an independent film movement in this country, but it doesn’t mean they all talk to one another. Festivals like Sundance are their natural meeting place. If I say to you it’s a kind of “Sundance film” you more or less know what I mean. I think movements like that can exist.\u003c/p>\n\u003cp>I think we’re about to see an explosion in filmmaking in Africa and parts of the Middle East that was the same thing as in Iran five years ago, where it was partly about the political situation and fighting censorship. So if we had a disaster affect the American economy, a massive depression bigger than 2008, it would bring a natural group of artists to the fore that would start to make angry films. It’s perfectly possible.\u003c/p>\n\u003cp>\u003cstrong>JB: \u003c/strong>Finally, a question you probably get a lot: Why is the trend of remakes and reboots so pervasive?\u003c/p>\n\u003cp>\u003cstrong>DT\u003c/strong>: Because the film business has always been so witless and so unimaginative and so scared that they would much rather remake something that has been successful. But that goes back to the beginning; that’s why people said, “Let’s make a Joan Crawford film,” which required them to define what kind of film that is. But there’s a good side to that — the public is eager for the unexpected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>David Thomson’s\u003ca href=\"http://www.randomhouse.com/book/178394/the-new-biographical-dictionary-of-film-by-david-thomson\" target=\"_blank\" rel=\"noopener\"> The New Biographical Dictionary of Film Sixth Edition\u003c/a> goes on sale May 6. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There have been hundreds of monster movies over the years, but only a handful of enduringly great movie \u003cem>monsters\u003c/em>. Of those, only two were created for the screen: King Kong, the giant ape atop the Empire State Building, and his Japanese heir, Godzilla, the city-flattening sea monster who’s a genuinely terrific pop icon. He not only stars in movies — Hollywood is bringing out a new \u003cem>Godzilla\u003c/em> on May 16 — but he’s even played basketball with Charles Barkley in a commercial for Nike.\u003c/p>\n\u003cp>It’s been six decades since \u003cem>Godzilla\u003c/em> first hit the screen, and to celebrate the big guy’s birthday, Rialto Pictures is releasing Ishiro Honda’s 1954 original — in a restored, 60th-anniversary edition — in theaters. I’ve seen \u003cem>Godzilla\u003c/em> many times since I was a kid, but watching it again, I was struck that it might be the best single film about the terrors of the nuclear age.\u003c/p>\n\u003cp>I suspect you know the plot. It begins when American H-bomb tests in the Pacific disturb the watery environment that’s the home of Gojira, as the monster is called in Japanese. After sinking assorted ships, this enormous beast winds up in Tokyo, where he stomps on buildings, flosses with power lines and blasts citizens with his radioactive bad breath. When the army is unable to stop him, the only hope is a new invention called the Oxygen Destroyer. But its idealistic creator is reluctant to reveal it for fear it will become a weapon — just look at the destruction that followed from splitting the atom.\u003c/p>\n\u003cp>Yet even as the inventor says this, the movie itself is offering us the seductive spectacle of violent ruin. And make no mistake: Destruction is great to look at. There’s an amoral pleasure to be had in watching Godzilla reduce Tokyo to fiery rubble, rather like the beauty of seeing those napalmed palm trees flare like matches in \u003cem>Apocalypse Now\u003c/em> or the illicit thrill of seeing the White House get obliterated in \u003cem>Independence Day\u003c/em> — before Sept. 11, of course. Quite clearly, it’s this joy in destruction that helped make \u003cem>Godzilla\u003c/em> influential, especially in Hollywood, which over the past half-century has fed the worldwide audience’s appetite for images of spectacular violence.\u003c/p>\n\u003cp>That said, \u003cem>Godzilla\u003c/em>‘s real strength lies not in its effects — impressive for the time — but in its underlying emotional and cultural seriousness. It’s not simply that the music is often doleful rather than exciting or that we see doomed children set off Geiger counters. The movie has a gravity that comes from being created in a Japan that knew what it was to have children die from radiation poisoning and to see its capital city in flames. Both drawn to and terrified of the monster’s power, the movie is steeped in Japan’s traumatic historical experience. It has weight. It \u003cem>means\u003c/em> something.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em>‘s resonance is also inseparable from something else that once defined the best monster movies — a sense of compassion for the monster. Boris Karloff’s Frankenstein may have been scary, but we also felt his frailty and fear at being hunted. King Kong was dangerous, sure, but his eyes were charged with almost human feeling when he gazed at Fay Wray. The same is true of Godzilla, who starts out wreaking havoc but, by the film’s end, takes on a melancholy, sad-faced grandeur.\u003c/p>\n\u003cp>These days, our pop culture doesn’t encourage such identification. Ever since \u003cem>Jaws\u003c/em> and \u003cem>Alien\u003c/em> and \u003cem>Predator\u003c/em>, whose creatures are ruthless murder machines, our monsters have increasingly become soulless things to be destroyed. Consider today’s favorite monster, the zombie. Although zombies could hardly seem more human — heck, they just \u003cem>were\u003c/em> human — the walking dead have no individuality and run in packs. They basically exist to have their heads shot off in movies and TV shows that resemble video games.\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em> is not remotely like this. In Jim Shepard’s wonderful short story “Gojira, King of the Monsters” — part of his collection titled \u003cem>You Think That’s Bad\u003c/em> — Shepard offers a fictionalized account of the making of the movie. At one point, Shepard has director Ishiro Honda explain why the vanquishing of Godzilla feels so sad, and his words sum up brilliantly what gives Godzilla its strange power. “By the time the movie ends,” Honda says, “[Godzilla] is like a hero whose departure we regret. It’s like part of us leaving. That’s what makes it so hard. The monster the child knows best is the monster he feels himself to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Movie+Monsters%2C+Monster+Movies+And+Why+%27Godzilla%27+Endures&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003ci>John Powers is film and TV critic for Vogue and vogue.com.\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been hundreds of monster movies over the years, but only a handful of enduringly great movie \u003cem>monsters\u003c/em>. Of those, only two were created for the screen: King Kong, the giant ape atop the Empire State Building, and his Japanese heir, Godzilla, the city-flattening sea monster who’s a genuinely terrific pop icon. He not only stars in movies — Hollywood is bringing out a new \u003cem>Godzilla\u003c/em> on May 16 — but he’s even played basketball with Charles Barkley in a commercial for Nike.\u003c/p>\n\u003cp>It’s been six decades since \u003cem>Godzilla\u003c/em> first hit the screen, and to celebrate the big guy’s birthday, Rialto Pictures is releasing Ishiro Honda’s 1954 original — in a restored, 60th-anniversary edition — in theaters. I’ve seen \u003cem>Godzilla\u003c/em> many times since I was a kid, but watching it again, I was struck that it might be the best single film about the terrors of the nuclear age.\u003c/p>\n\u003cp>I suspect you know the plot. It begins when American H-bomb tests in the Pacific disturb the watery environment that’s the home of Gojira, as the monster is called in Japanese. After sinking assorted ships, this enormous beast winds up in Tokyo, where he stomps on buildings, flosses with power lines and blasts citizens with his radioactive bad breath. When the army is unable to stop him, the only hope is a new invention called the Oxygen Destroyer. But its idealistic creator is reluctant to reveal it for fear it will become a weapon — just look at the destruction that followed from splitting the atom.\u003c/p>\n\u003cp>Yet even as the inventor says this, the movie itself is offering us the seductive spectacle of violent ruin. And make no mistake: Destruction is great to look at. There’s an amoral pleasure to be had in watching Godzilla reduce Tokyo to fiery rubble, rather like the beauty of seeing those napalmed palm trees flare like matches in \u003cem>Apocalypse Now\u003c/em> or the illicit thrill of seeing the White House get obliterated in \u003cem>Independence Day\u003c/em> — before Sept. 11, of course. Quite clearly, it’s this joy in destruction that helped make \u003cem>Godzilla\u003c/em> influential, especially in Hollywood, which over the past half-century has fed the worldwide audience’s appetite for images of spectacular violence.\u003c/p>\n\u003cp>That said, \u003cem>Godzilla\u003c/em>‘s real strength lies not in its effects — impressive for the time — but in its underlying emotional and cultural seriousness. It’s not simply that the music is often doleful rather than exciting or that we see doomed children set off Geiger counters. The movie has a gravity that comes from being created in a Japan that knew what it was to have children die from radiation poisoning and to see its capital city in flames. Both drawn to and terrified of the monster’s power, the movie is steeped in Japan’s traumatic historical experience. It has weight. It \u003cem>means\u003c/em> something.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em>‘s resonance is also inseparable from something else that once defined the best monster movies — a sense of compassion for the monster. Boris Karloff’s Frankenstein may have been scary, but we also felt his frailty and fear at being hunted. King Kong was dangerous, sure, but his eyes were charged with almost human feeling when he gazed at Fay Wray. The same is true of Godzilla, who starts out wreaking havoc but, by the film’s end, takes on a melancholy, sad-faced grandeur.\u003c/p>\n\u003cp>These days, our pop culture doesn’t encourage such identification. Ever since \u003cem>Jaws\u003c/em> and \u003cem>Alien\u003c/em> and \u003cem>Predator\u003c/em>, whose creatures are ruthless murder machines, our monsters have increasingly become soulless things to be destroyed. Consider today’s favorite monster, the zombie. Although zombies could hardly seem more human — heck, they just \u003cem>were\u003c/em> human — the walking dead have no individuality and run in packs. They basically exist to have their heads shot off in movies and TV shows that resemble video games.\u003c/p>\n\u003cp>\u003cem>Godzilla\u003c/em> is not remotely like this. In Jim Shepard’s wonderful short story “Gojira, King of the Monsters” — part of his collection titled \u003cem>You Think That’s Bad\u003c/em> — Shepard offers a fictionalized account of the making of the movie. At one point, Shepard has director Ishiro Honda explain why the vanquishing of Godzilla feels so sad, and his words sum up brilliantly what gives Godzilla its strange power. “By the time the movie ends,” Honda says, “[Godzilla] is like a hero whose departure we regret. It’s like part of us leaving. That’s what makes it so hard. The monster the child knows best is the monster he feels himself to be.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Movie+Monsters%2C+Monster+Movies+And+Why+%27Godzilla%27+Endures&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003ci>John Powers is film and TV critic for Vogue and vogue.com.\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a great movie to be found in \u003cem>The Amazing Spider-Man 2\u003c/em>, but it’s not about superheroes, supervillains or impending urban calamities. It’s a deeply felt and hugely winning romantic tragi-comedy about a pair of recent high school grads who are perfect for each other in every way, but just can’t ever seem to get their timing right.\u003c/p>\n\u003cp>As Peter Parker and Gwen Stacy, Andrew Garfield and Emma Stone don’t just have chemistry on screen. They’ve got a rare Hepburn-and-Tracy-esque naturalism that flits from awkwardness to ease to unquestioned devotion in the space of a few shared glances. They don’t just have spark, they have a buzzing, crackling electricity with power enough to light the New York City skyline.\u003c/p>\n\u003cp>It’s a pity, then — both for Peter and Gwen, and for the movie — that they keep getting interrupted by Electro (Jamie Foxx), a buzzing, crackling, energy-sucking villain with enough power to \u003cem>darken\u003c/em> the New York City skyline. Not to mention Harry Osborn/Green Goblin (Dane DeHaan), who also shows up to cross these lovers’ stars some more, and Rhino (an utterly wasted Paul Giamatti), who appears as an afterthought. Because what superhero movie doesn’t benefit from an extra villain or three? (Answer: most of them.)\u003c/p>\n\u003cp>That Garfield and Stone are the best parts of the movie should come as no surprise: They were the anchor that saved director Marc Webb’s 2012 Spidey franchise reset from complete irrelevance as well. But while they’re perhaps even more of a pleasure to watch on screen this time around, the rest of the film gets bogged down in too many villains, too many origin stories and too many minutes of running time.\u003c/p>\n\u003cp>It’s those origins that are particularly maddening, since one of the pleasures of getting past the first installment of any superhero franchise is being able to dispense with the now-familiar expository notes of the hero’s creation. But \u003cem>The Amazing Spider-Man 2\u003c/em> spends inordinate amounts of time setting up its villains (and even backtracks into the past to reveal even more details of Spider-Man’s origin), only to dispatch them speedily in an overstuffed third act, as if Webb suddenly realized he’d set up too much story to resolve even in 2 1/2 hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, the movie never seems to care much about the conflict between Peter and his foes. Ostensibly, the big set piece is the fight with Electro, a former electrical engineer, stereotypically nerdy and meek, who is trying to turn off the lights to the city and finally get people to pay attention to him. (All of which could have been avoided if only his co-workers had just bought the poor guy a birthday cake — he’s basically \u003cem>Office Space\u003c/em>‘s Milton, except he’s looking to take down more than just his office building.)\u003c/p>\n\u003cp>But Electro is a one-dimensional big bad, and is really only here to help facilitate Harry’s transition to the Green Goblin. And the Goblin’s brief appearance is really only there to set up the climax of the Peter and Gwen story — and to set up the next film. Rhino is even more of a throwaway, a device to help Spidey get his groove back after Webb tries to replicate much of the plot of Sam Raimi’s 2004 \u003cem>Spider-Man 2\u003c/em> in the space of a short montage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something admirable in what seems to be Webb’s intent here, to make a costumed crusader flick that’s more about the people than the spectacle. The small moments, the physical comedy, Spidey’s constant wisecracking — these things are all charming, but they’re counterbalanced by stock summer blockbuster elements that Webb never seems interested in. What we get is a glimpse of how good Andrew Garfield and Emma Stone might be in a snappy, witty, old-fashioned romantic comedy — if only all those pesky scientifically engineered mutants would stop intruding. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Such+A+Lovely+Couple%2C+If+Only+The+Supervillains+Would+Leave+Them+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a great movie to be found in \u003cem>The Amazing Spider-Man 2\u003c/em>, but it’s not about superheroes, supervillains or impending urban calamities. It’s a deeply felt and hugely winning romantic tragi-comedy about a pair of recent high school grads who are perfect for each other in every way, but just can’t ever seem to get their timing right.\u003c/p>\n\u003cp>As Peter Parker and Gwen Stacy, Andrew Garfield and Emma Stone don’t just have chemistry on screen. They’ve got a rare Hepburn-and-Tracy-esque naturalism that flits from awkwardness to ease to unquestioned devotion in the space of a few shared glances. They don’t just have spark, they have a buzzing, crackling electricity with power enough to light the New York City skyline.\u003c/p>\n\u003cp>It’s a pity, then — both for Peter and Gwen, and for the movie — that they keep getting interrupted by Electro (Jamie Foxx), a buzzing, crackling, energy-sucking villain with enough power to \u003cem>darken\u003c/em> the New York City skyline. Not to mention Harry Osborn/Green Goblin (Dane DeHaan), who also shows up to cross these lovers’ stars some more, and Rhino (an utterly wasted Paul Giamatti), who appears as an afterthought. Because what superhero movie doesn’t benefit from an extra villain or three? (Answer: most of them.)\u003c/p>\n\u003cp>That Garfield and Stone are the best parts of the movie should come as no surprise: They were the anchor that saved director Marc Webb’s 2012 Spidey franchise reset from complete irrelevance as well. But while they’re perhaps even more of a pleasure to watch on screen this time around, the rest of the film gets bogged down in too many villains, too many origin stories and too many minutes of running time.\u003c/p>\n\u003cp>It’s those origins that are particularly maddening, since one of the pleasures of getting past the first installment of any superhero franchise is being able to dispense with the now-familiar expository notes of the hero’s creation. But \u003cem>The Amazing Spider-Man 2\u003c/em> spends inordinate amounts of time setting up its villains (and even backtracks into the past to reveal even more details of Spider-Man’s origin), only to dispatch them speedily in an overstuffed third act, as if Webb suddenly realized he’d set up too much story to resolve even in 2 1/2 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, the movie never seems to care much about the conflict between Peter and his foes. Ostensibly, the big set piece is the fight with Electro, a former electrical engineer, stereotypically nerdy and meek, who is trying to turn off the lights to the city and finally get people to pay attention to him. (All of which could have been avoided if only his co-workers had just bought the poor guy a birthday cake — he’s basically \u003cem>Office Space\u003c/em>‘s Milton, except he’s looking to take down more than just his office building.)\u003c/p>\n\u003cp>But Electro is a one-dimensional big bad, and is really only here to help facilitate Harry’s transition to the Green Goblin. And the Goblin’s brief appearance is really only there to set up the climax of the Peter and Gwen story — and to set up the next film. Rhino is even more of a throwaway, a device to help Spidey get his groove back after Webb tries to replicate much of the plot of Sam Raimi’s 2004 \u003cem>Spider-Man 2\u003c/em> in the space of a short montage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s something admirable in what seems to be Webb’s intent here, to make a costumed crusader flick that’s more about the people than the spectacle. The small moments, the physical comedy, Spidey’s constant wisecracking — these things are all charming, but they’re counterbalanced by stock summer blockbuster elements that Webb never seems interested in. What we get is a glimpse of how good Andrew Garfield and Emma Stone might be in a snappy, witty, old-fashioned romantic comedy — if only all those pesky scientifically engineered mutants would stop intruding. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">www.npr.org.\u003c/a>\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Such+A+Lovely+Couple%2C+If+Only+The+Supervillains+Would+Leave+Them+Alone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Movies That'll Pump You Up for Summer Blockbuster Season",
"title": "Movies That'll Pump You Up for Summer Blockbuster Season",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_12000\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/29/movies-thatll-pump-you-up-for-summer-blockbuster-season/maleficent/\" rel=\"attachment wp-att-12000\">\u003cimg class=\"size-full wp-image-12000\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/maleficent.jpg\" alt=\"Photo: Walt Disney Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/maleficent.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/maleficent-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Walt Disney Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>With summer blockbuster season right around the corner (here come the explosions and car chases), we felt it necessary to take a moment to remind you of all the movies you should catch this May before the around-the-block lines for sequels and teenage hoards descend on theaters in June. From the indie and arty (hello, James Franco's \u003cem>Palo Alto\u003c/em>) to big budget spectacles (Bryan Cranston in \u003cem>Godzilla\u003c/em> and \u003cem>X-Men: Days of Future Past\u003c/em>), here's a sneak peek at some of the films everyone will be talking about this month.\u003c/p>\n\u003cp>\u003cstrong>May 9\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Palo Alto\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/sTqMUu1iTIo\u003c/p>\n\u003cp>\u003cstrong>What:\u003c/strong> Gia Coppola's (yes, one of \u003cem>those\u003c/em> Coppolas) adaptation of James Franco's 2010 book of short stories follows a group of delinquent peninsula high school students through a series of unsavory incidents in the Bay Area. You may want to pick up the collection beforehand; it's a breezy and somewhat odd read, as you'd expect from our favorite \u003cem>General Hospital\u003c/em> guest star. The underage relationship between Franco's character \"Mr. B\" and Emma Roberts' \"April\" should be interesting to watch, in light of his recent Instagram rejection from a 17-year-old fan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Are we excited?:\u003c/strong> We're always excited for a new piece of James Franco performance art and it's going to be interesting to see what gets included from the dense set of tales. Val Kilmer is also listed as a cast member and his bizarro boy antics of the '90s seem to be very in keeping with Franco's current persona. When beloved Hollywood weirdos collide!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Neighbors\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>http://youtu.be/kL5c2szf3E4\u003c/p>\n\u003cp>\u003cstrong>What:\u003c/strong> The team behind \u003cem>Forgetting Sarah Marshall\u003c/em> and \u003cem>Get Him to the Greek\u003c/em> take a look at intergenerational conflict in this story about young parents (Seth Rogen and Rose Byrne) who find themselves living next to a fraternity house led by the oft shirtless Zac Efron. Broad comedy with several likely references to \u003cem>Animal House\u003c/em>, lots of \u003cem>Home Alone\u003c/em> style pranks and, again, frequently shirtless Zac Efron (which seems to be a major selling point of the marketing campaign). What more do you want?\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> Zac Efron definitely has a sense of comic timing; let's hope the script does him justice and that he can take this opportunity working with Seth Rogan to further master his skills in the genre. The frat next door story seems a little \"done,\" but we love a clever reinvention of a classic.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Double\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/XG8qATRtNuU\u003c/p>\n\u003cp>\u003cstrong>What:\u003c/strong> Jesse Eisenberg stars in a dark comedy retelling of the Fyodor Dostoyevsky novella. Simon James and James Simon meet at work and discover they bear a striking resemblance to one another but with polar opposite personalities. When the bold and brash James tries to coach a meek and retiring Simon in the seduction of Hannah (Mia Wasikowska), things take a dark turn. Needless to say, the resemblance has a lot to do with it...\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> The source material can't be beat and we've been eager to see Eisenberg sink his teeth into another Zuckerberg type role. Maybe he can bring some of that smarm to the duplicitous James?\u003c/p>\n\u003cp>\u003cstrong>May 16\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Godzilla\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/vIu85WQTPRc\u003c/p>\n\u003cp>\u003cstrong>What:\u003c/strong> Bryan Cranston, Ken Watanabe, Juliette Binoche and Sally Hawkings star in this big budget reboot of the Toho classics. The new film allegedly pits the famous monster against other mega-creatures, whose creation is linked to man's scientific arrogance and mistreatment of the environment. Very timely sounding take on the green one.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?\u003c/strong>: Walter White battling one of the most classic movie monsters of all time? Excited doesn't begin to cover it. Even though the last American take on the big lizard was a snooze, we're cautiously optimistic that this seemingly smarter approach will present big questions for contemporary audiences like the originals did about life in the atomic age.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Million Dollar Arm\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/EiC8o7i_ZqE\u003c/p>\n\u003cp>\u003cstrong>What:\u003c/strong> Jon Hamm stars as real life sports agent J.B. Bernstein, who traveled to India to recruit baseball reality show contestants Rinku Singh and Dinesh Patel for the American big leagues. It looks a little \u003cem>Cool Runnings\u003c/em>, a little \u003cem>The Rookie\u003c/em> and Hamm looks utterly at home in the world of baseball.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong>Eh. But Jon Hamm would be delightful reading Tupperware care instructions so we'll check this out just for him. We're overdue for a new baseball classic, so hopefully this movie will surprise with some good storytelling. Just, please, go light on the cultural fish-out-of-water elements; it can read as xenophobia.\u003c/p>\n\u003cp>\u003cstrong>May 23\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>X-Men: Days of Future Past\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/gsjtg7m1MMM\u003c/p>\n\u003cp>\u003cstrong>What:\u003c/strong> Cast members and universes from the two separate X-Men film series unite in this truly epic telling of the \"Future Past\" comic storyline. Hugh Jackman, Halle Berry, Anna Paquin, Ellen Page, Patrick Stewart and Ian McKellen reprise their roles from the original Bryan Singer trilogy and are joined by James McEvoy, Michael Fassbender, Jennifer Lawrence and Nicholas Hoult from \u003cem>First Class.\u003c/em> Time travel, possible apocalyptic futures and the series' overriding metaphors about persecution and intolerance make up what seems like a truly complex dual timeline plot.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> Clearly. The best of both worlds colliding in the awesomeness that is the X-universe has us all secretly nerding out a little. Plus, the bromance that is the Patrick Stewart/Ian McKellan friendship needs to be documented whenever possible. Oh, and the cast will be joined by \u003cem>Game of Thrones\u003c/em> Peter Dinklage. We're off to a great start.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maleficent\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/w-XO4XiRop0\u003c/p>\n\u003cp>\u003cstrong>What:\u003c/strong> Angelina Jolie stars as the title evil fairy from \u003cem>Sleeping Beauty.\u003c/em> What \u003cem>Wicked\u003c/em> did in retelling the story of the Wicked Witch of the West from \u003cem>The Wizard of Oz,\u003c/em> this film aims to do for the queen of the night. Jolie's character goes from youthful purity to a heart of revenge with Elle Fanning's Princess Aurora caught in the middle of a war between the human and forest worlds.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> With memories of Tim Burton's lackluster \u003cem>Alice in Wonderland\u003c/em> and the snooze-worthy \u003cem>Oz the Great and Powerful\u003c/em> still fresh in our minds, we're cautiously excited. The art so far looks brooding and beautiful, and Angelina certainly seems to be channelling the epic villainess trope like never before. But I have to ask: Doesn't she seem like this might be how she behaves at home with Brad and the kids?\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Million Ways to Die in the West\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>http://youtu.be/WhGkcOoTlkQ\u003c/p>\n\u003cp>\u003cstrong>What: \u003c/strong>Seth MacFarlane wrote, directed and stars in this western comedy about a meek sheep herder going up against an old west villain played by Liam Neeson, with Charlize Theron and Amanda Seyfried as love interests. The set up seems very Don Knotts in \u003cem>The Shakiest Gun in the West\u003c/em>,\u003cem> \u003c/em> but with standard family-unfriendly touches by MacFarlane.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> Yes! We need a good western comedy; there hasn't really been one since \u003cem>Blazing Saddles\u003c/em>. While MacFarlane has proven himself capable of writing and directing a hit film with \u003cem>Ted,\u003c/em> it's going to be interesting to see if he can carry off leading man duties. If his SNL performance is any indication, we'll be alright.\u003c/p>\n\n",
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"excerpt": "From the indie and artsy to big budget spectacles, here's a sneak peek at some of the films everyone will be talking about this month.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_12000\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/29/movies-thatll-pump-you-up-for-summer-blockbuster-season/maleficent/\" rel=\"attachment wp-att-12000\">\u003cimg class=\"size-full wp-image-12000\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/maleficent.jpg\" alt=\"Photo: Walt Disney Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/maleficent.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/maleficent-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Walt Disney Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>With summer blockbuster season right around the corner (here come the explosions and car chases), we felt it necessary to take a moment to remind you of all the movies you should catch this May before the around-the-block lines for sequels and teenage hoards descend on theaters in June. From the indie and arty (hello, James Franco's \u003cem>Palo Alto\u003c/em>) to big budget spectacles (Bryan Cranston in \u003cem>Godzilla\u003c/em> and \u003cem>X-Men: Days of Future Past\u003c/em>), here's a sneak peek at some of the films everyone will be talking about this month.\u003c/p>\n\u003cp>\u003cstrong>May 9\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Palo Alto\u003c/em>\u003c/strong>\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/sTqMUu1iTIo'\n title='//www.youtube.com/embed/sTqMUu1iTIo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What:\u003c/strong> Gia Coppola's (yes, one of \u003cem>those\u003c/em> Coppolas) adaptation of James Franco's 2010 book of short stories follows a group of delinquent peninsula high school students through a series of unsavory incidents in the Bay Area. You may want to pick up the collection beforehand; it's a breezy and somewhat odd read, as you'd expect from our favorite \u003cem>General Hospital\u003c/em> guest star. The underage relationship between Franco's character \"Mr. B\" and Emma Roberts' \"April\" should be interesting to watch, in light of his recent Instagram rejection from a 17-year-old fan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Are we excited?:\u003c/strong> We're always excited for a new piece of James Franco performance art and it's going to be interesting to see what gets included from the dense set of tales. Val Kilmer is also listed as a cast member and his bizarro boy antics of the '90s seem to be very in keeping with Franco's current persona. When beloved Hollywood weirdos collide!\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Neighbors\u003c/strong>\u003c/em>\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/kL5c2szf3E4'\n title='//www.youtube.com/embed/kL5c2szf3E4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What:\u003c/strong> The team behind \u003cem>Forgetting Sarah Marshall\u003c/em> and \u003cem>Get Him to the Greek\u003c/em> take a look at intergenerational conflict in this story about young parents (Seth Rogen and Rose Byrne) who find themselves living next to a fraternity house led by the oft shirtless Zac Efron. Broad comedy with several likely references to \u003cem>Animal House\u003c/em>, lots of \u003cem>Home Alone\u003c/em> style pranks and, again, frequently shirtless Zac Efron (which seems to be a major selling point of the marketing campaign). What more do you want?\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> Zac Efron definitely has a sense of comic timing; let's hope the script does him justice and that he can take this opportunity working with Seth Rogan to further master his skills in the genre. The frat next door story seems a little \"done,\" but we love a clever reinvention of a classic.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Double\u003c/em>\u003c/strong>\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/XG8qATRtNuU'\n title='//www.youtube.com/embed/XG8qATRtNuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What:\u003c/strong> Jesse Eisenberg stars in a dark comedy retelling of the Fyodor Dostoyevsky novella. Simon James and James Simon meet at work and discover they bear a striking resemblance to one another but with polar opposite personalities. When the bold and brash James tries to coach a meek and retiring Simon in the seduction of Hannah (Mia Wasikowska), things take a dark turn. Needless to say, the resemblance has a lot to do with it...\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> The source material can't be beat and we've been eager to see Eisenberg sink his teeth into another Zuckerberg type role. Maybe he can bring some of that smarm to the duplicitous James?\u003c/p>\n\u003cp>\u003cstrong>May 16\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Godzilla\u003c/em>\u003c/strong>\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/vIu85WQTPRc'\n title='//www.youtube.com/embed/vIu85WQTPRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What:\u003c/strong> Bryan Cranston, Ken Watanabe, Juliette Binoche and Sally Hawkings star in this big budget reboot of the Toho classics. The new film allegedly pits the famous monster against other mega-creatures, whose creation is linked to man's scientific arrogance and mistreatment of the environment. Very timely sounding take on the green one.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?\u003c/strong>: Walter White battling one of the most classic movie monsters of all time? Excited doesn't begin to cover it. Even though the last American take on the big lizard was a snooze, we're cautiously optimistic that this seemingly smarter approach will present big questions for contemporary audiences like the originals did about life in the atomic age.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Million Dollar Arm\u003c/em>\u003c/strong>\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/EiC8o7i_ZqE'\n title='//www.youtube.com/embed/EiC8o7i_ZqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What:\u003c/strong> Jon Hamm stars as real life sports agent J.B. Bernstein, who traveled to India to recruit baseball reality show contestants Rinku Singh and Dinesh Patel for the American big leagues. It looks a little \u003cem>Cool Runnings\u003c/em>, a little \u003cem>The Rookie\u003c/em> and Hamm looks utterly at home in the world of baseball.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong>Eh. But Jon Hamm would be delightful reading Tupperware care instructions so we'll check this out just for him. We're overdue for a new baseball classic, so hopefully this movie will surprise with some good storytelling. Just, please, go light on the cultural fish-out-of-water elements; it can read as xenophobia.\u003c/p>\n\u003cp>\u003cstrong>May 23\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>X-Men: Days of Future Past\u003c/em>\u003c/strong>\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/gsjtg7m1MMM'\n title='//www.youtube.com/embed/gsjtg7m1MMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What:\u003c/strong> Cast members and universes from the two separate X-Men film series unite in this truly epic telling of the \"Future Past\" comic storyline. Hugh Jackman, Halle Berry, Anna Paquin, Ellen Page, Patrick Stewart and Ian McKellen reprise their roles from the original Bryan Singer trilogy and are joined by James McEvoy, Michael Fassbender, Jennifer Lawrence and Nicholas Hoult from \u003cem>First Class.\u003c/em> Time travel, possible apocalyptic futures and the series' overriding metaphors about persecution and intolerance make up what seems like a truly complex dual timeline plot.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> Clearly. The best of both worlds colliding in the awesomeness that is the X-universe has us all secretly nerding out a little. Plus, the bromance that is the Patrick Stewart/Ian McKellan friendship needs to be documented whenever possible. Oh, and the cast will be joined by \u003cem>Game of Thrones\u003c/em> Peter Dinklage. We're off to a great start.\u003c/p>\n\u003cp>\u003cstrong>May 30\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Maleficent\u003c/em>\u003c/strong>\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/w-XO4XiRop0'\n title='//www.youtube.com/embed/w-XO4XiRop0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What:\u003c/strong> Angelina Jolie stars as the title evil fairy from \u003cem>Sleeping Beauty.\u003c/em> What \u003cem>Wicked\u003c/em> did in retelling the story of the Wicked Witch of the West from \u003cem>The Wizard of Oz,\u003c/em> this film aims to do for the queen of the night. Jolie's character goes from youthful purity to a heart of revenge with Elle Fanning's Princess Aurora caught in the middle of a war between the human and forest worlds.\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> With memories of Tim Burton's lackluster \u003cem>Alice in Wonderland\u003c/em> and the snooze-worthy \u003cem>Oz the Great and Powerful\u003c/em> still fresh in our minds, we're cautiously excited. The art so far looks brooding and beautiful, and Angelina certainly seems to be channelling the epic villainess trope like never before. But I have to ask: Doesn't she seem like this might be how she behaves at home with Brad and the kids?\u003c/p>\n\u003cp>\u003cstrong>\u003cem>A Million Ways to Die in the West\u003c/em>\u003c/strong>\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/WhGkcOoTlkQ'\n title='//www.youtube.com/embed/WhGkcOoTlkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What: \u003c/strong>Seth MacFarlane wrote, directed and stars in this western comedy about a meek sheep herder going up against an old west villain played by Liam Neeson, with Charlize Theron and Amanda Seyfried as love interests. The set up seems very Don Knotts in \u003cem>The Shakiest Gun in the West\u003c/em>,\u003cem> \u003c/em> but with standard family-unfriendly touches by MacFarlane.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Are we excited?: \u003c/strong> Yes! We need a good western comedy; there hasn't really been one since \u003cem>Blazing Saddles\u003c/em>. While MacFarlane has proven himself capable of writing and directing a hit film with \u003cem>Ted,\u003c/em> it's going to be interesting to see if he can carry off leading man duties. If his SNL performance is any indication, we'll be alright.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British actor Bob Hoskins died last night of pneumonia at 71. He’ll certainly be remembered for starring with cartoon characters in \u003cem>Who Framed Roger Rabbit\u003c/em> — but that was just one of many films in which he played tough guys with soft hearts.\u003c/p>\n\u003cp>Short, stocky, dyslexic, balding, and with a cockney accent thick enough to spread on toast, Hoskins was hardly conventional leading man material. But he sure got to play opposite some gorgeous co-stars — Kathleen Turner’s Jessica Rabbit, of course, but also Cher in \u003cem>Mermaids \u003c/em>and Michelle Pfeiffer in \u003cem>Sweet Liberty;\u003c/em> and in \u003cem>Mona Lisa\u003c/em>, Cecily Tyson’s daughter Cathy played the call girl he chauffeured for, fell in love with and wanted to protect.\u003c/p>\n\u003cp>Hoskins played a mostly passive character in \u003cem>Mona Lisa\u003c/em> — not his usual thing, which may be why the role got him his only Oscar nomination. His usual thing was more blustery — from real-life figures like J. Edgar Hoover, Winston Churchill, Benito Mussolini and Nikita Khrushchev to gangsters and detectives, like the one who had to hold his own opposite an animated rabbit.\u003c/p>\n\u003cp>Hoskins was hired for \u003cem>Who Framed Roger Rabbit\u003c/em> because the filmmakers knew that he’d keep the story grounded, something the actor told interviewers he did in a decidedly ungrounded way — basically learning to “hallucinate” his costars.\u003c/p>\n\u003cp>Hoskins got his first acting gig, at 26, by accident: He went with a friend to an audition. just to keep him company, got a script shoved into his hand by someone who said “you’re next,” and decided to give it a shot. He ended up getting the lead, with his friend as his understudy. At which point he also started getting terrible advice, as he told WHYY’s \u003cem>Fresh Air\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started,” Hoskins said, “they said, you know, you’ve got to take elocution lessons, deportment classes, you gotta learn to fence. Wait a minute, hang on: I’m going to learn to talk like I don’t, be like I’m not, walk like I don’t — where am I in the middle of this? And so I didn’t take any lessons at all.”\u003c/p>\n\u003cp>Which didn’t keep him from getting parts, at first onstage, and then on TV, including his big break as a frustrated sheet-music salesman in \u003cem>Pennies from Heaven\u003c/em> — a frustrated but imaginative salesman, whose frustrations keep erupting into song\u003c/p>\n\u003cp>Hoskins’ big-screen career didn’t take off until casting directors decided he was a sort of British Edward G. Robinson — as the gangster in \u003cem>The Long Good Friday,\u003c/em> for instance, who made the mistake of ticking off the American Mafia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After that, he alternated between big Hollywood movies and — more and more — smaller independent films. He announced his retirement two years ago, and also his diagnosis with Parkinson’s. But by then, the performance career that began as a fluke had seen Bob Hoskins growl and bluster his way through more than 100 roles onscreen — indelibly, pretty much every time. \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=Bob+Hoskins%3A+A+Specialist+In+Tough+Guys+With+Soft+Hearts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I started,” Hoskins said, “they said, you know, you’ve got to take elocution lessons, deportment classes, you gotta learn to fence. Wait a minute, hang on: I’m going to learn to talk like I don’t, be like I’m not, walk like I don’t — where am I in the middle of this? And so I didn’t take any lessons at all.”\u003c/p>\n\u003cp>Which didn’t keep him from getting parts, at first onstage, and then on TV, including his big break as a frustrated sheet-music salesman in \u003cem>Pennies from Heaven\u003c/em> — a frustrated but imaginative salesman, whose frustrations keep erupting into song\u003c/p>\n\u003cp>Hoskins’ big-screen career didn’t take off until casting directors decided he was a sort of British Edward G. Robinson — as the gangster in \u003cem>The Long Good Friday,\u003c/em> for instance, who made the mistake of ticking off the American Mafia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After that, he alternated between big Hollywood movies and — more and more — smaller independent films. He announced his retirement two years ago, and also his diagnosis with Parkinson’s. But by then, the performance career that began as a fluke had seen Bob Hoskins growl and bluster his way through more than 100 roles onscreen — indelibly, pretty much every time. \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=Bob+Hoskins%3A+A+Specialist+In+Tough+Guys+With+Soft+Hearts&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_11990\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/30/10-years-of-mean-girls-the-5-best-ways-the-internet-is-celebrating/mean-girlss/\" rel=\"attachment wp-att-11990\">\u003cimg class=\"size-full wp-image-11990\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/mean-girlss.jpg\" alt=\"Photo: Paramount Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/mean-girlss.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/mean-girlss-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Paramount Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>I hope you're wearing pink right now. Not only is it \u003ca href=\"http://37.media.tumblr.com/tumblr_lx1g7ttpML1qb9pa3o1_500.gif\">a Wednesday\u003c/a>, but it's also the 10 year anniversary of \u003cem>Mean Girls\u003c/em>. That's right, you're old, but so is everyone else so it's going to be ok. Like \u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2014/03/05/clueless-revival-iggy-azalea-and-peaches-christ-pay-homage/\">Clueless\u003c/a>\u003c/em> and \u003cem>Heathers\u003c/em> before it, \u003cem>Mean Girls\u003c/em> seized the vernacular of an entire generation. That's so fetch. You can't sit with us. She doesn't even go here. Grool. Boo, you whore. I want my pink shirt back! And on and on. So it's no surprise that the entire internet is celebrating this high holiday. Here are the best \u003cem>Mean Girls\u003c/em> homages around the web today:\u003c/p>\n\u003cp>\u003cem>Mashable\u003c/em> cooked up some \u003cem>Mean Girls\u003c/em> emoji because someone had to. Thumbs up. Dancing twins. Trophy. Sparkles.\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://mashable.com/2014/04/30/mean-girls-emoji/\">'Mean Girls' Emoji Is the Closest Thing to Texting Regina George\u003c/a>\u003c/div>\n\u003cp>\u003cem>The Huffington Post\u003c/em> gathered all of Regina George's insults into one bruising supercut:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.huffingtonpost.com/2014/04/29/regina-george-insults_n_5232371.html\">Watch Regina George's Best Insults From 'Mean Girls'\u003c/a>\u003c/div>\n\u003cp>\u003cem>Vulture\u003c/em> sat down with director Mark Waters to get some behind-the-scenes scoop:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.vulture.com/2014/02/mean-girls-director-spills-10-juicy-stories.html\">Mean Girls Director Mark Waters Spills 10 Juicy Stories, 10 Years Later\u003c/a>\u003c/div>\n\u003cp>The prolific workers over at \u003cem>BuzzFeed\u003c/em> turned Winnie the Pooh into a plastic:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.buzzfeed.com/jenlewis/winnie-the-mean-girl\">If Winnie The Pooh Were Actually Regina George From \"Mean Girls\"\u003c/a>\u003c/div>\n\u003cp>And \u003cem>The Atlantic\u003c/em> asks why we still have \u003ca href=\"http://24.media.tumblr.com/tumblr_m8x6h8PsCE1rx58bzo1_500.gif\">a big lesbian crush\u003c/a> on \u003cem>Mean Girls\u003c/em>, and wins the award for Best Subtle Reference Headline of the Day:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.theatlantic.com/entertainment/archive/2014/04/The-limit-to-Mean-Girls-Does-Not-Exist/361432/\">Why the Limit to Mean Girls Does Not Exist\u003c/a>\u003c/div>\n\u003cp>Oh, and don't forget to eat a Toaster Strudel at some point today.\u003c/p>\n\u003cfigure id=\"attachment_11988\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/30/10-years-of-mean-girls-the-5-best-ways-the-internet-is-celebrating/giphy-3/\" rel=\"attachment wp-att-11988\">\u003cimg class=\"size-full wp-image-11988\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/giphy.gif\" alt=\"Photo: Giphy\" width=\"500\" height=\"213\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://giphy.com/gifs/WKCf86R411HLG\">Giphy\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11990\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/30/10-years-of-mean-girls-the-5-best-ways-the-internet-is-celebrating/mean-girlss/\" rel=\"attachment wp-att-11990\">\u003cimg class=\"size-full wp-image-11990\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/mean-girlss.jpg\" alt=\"Photo: Paramount Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/04/mean-girlss.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/04/mean-girlss-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Paramount Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>I hope you're wearing pink right now. Not only is it \u003ca href=\"http://37.media.tumblr.com/tumblr_lx1g7ttpML1qb9pa3o1_500.gif\">a Wednesday\u003c/a>, but it's also the 10 year anniversary of \u003cem>Mean Girls\u003c/em>. That's right, you're old, but so is everyone else so it's going to be ok. Like \u003cem>\u003ca href=\"http://blogs.kqed.org/pop/2014/03/05/clueless-revival-iggy-azalea-and-peaches-christ-pay-homage/\">Clueless\u003c/a>\u003c/em> and \u003cem>Heathers\u003c/em> before it, \u003cem>Mean Girls\u003c/em> seized the vernacular of an entire generation. That's so fetch. You can't sit with us. She doesn't even go here. Grool. Boo, you whore. I want my pink shirt back! And on and on. So it's no surprise that the entire internet is celebrating this high holiday. Here are the best \u003cem>Mean Girls\u003c/em> homages around the web today:\u003c/p>\n\u003cp>\u003cem>Mashable\u003c/em> cooked up some \u003cem>Mean Girls\u003c/em> emoji because someone had to. Thumbs up. Dancing twins. Trophy. Sparkles.\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://mashable.com/2014/04/30/mean-girls-emoji/\">'Mean Girls' Emoji Is the Closest Thing to Texting Regina George\u003c/a>\u003c/div>\n\u003cp>\u003cem>The Huffington Post\u003c/em> gathered all of Regina George's insults into one bruising supercut:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.huffingtonpost.com/2014/04/29/regina-george-insults_n_5232371.html\">Watch Regina George's Best Insults From 'Mean Girls'\u003c/a>\u003c/div>\n\u003cp>\u003cem>Vulture\u003c/em> sat down with director Mark Waters to get some behind-the-scenes scoop:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.vulture.com/2014/02/mean-girls-director-spills-10-juicy-stories.html\">Mean Girls Director Mark Waters Spills 10 Juicy Stories, 10 Years Later\u003c/a>\u003c/div>\n\u003cp>The prolific workers over at \u003cem>BuzzFeed\u003c/em> turned Winnie the Pooh into a plastic:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.buzzfeed.com/jenlewis/winnie-the-mean-girl\">If Winnie The Pooh Were Actually Regina George From \"Mean Girls\"\u003c/a>\u003c/div>\n\u003cp>And \u003cem>The Atlantic\u003c/em> asks why we still have \u003ca href=\"http://24.media.tumblr.com/tumblr_m8x6h8PsCE1rx58bzo1_500.gif\">a big lesbian crush\u003c/a> on \u003cem>Mean Girls\u003c/em>, and wins the award for Best Subtle Reference Headline of the Day:\u003c/p>\n\u003cdiv>\u003ca class=\"embedly-card\" href=\"http://www.theatlantic.com/entertainment/archive/2014/04/The-limit-to-Mean-Girls-Does-Not-Exist/361432/\">Why the Limit to Mean Girls Does Not Exist\u003c/a>\u003c/div>\n\u003cp>Oh, and don't forget to eat a Toaster Strudel at some point today.\u003c/p>\n\u003cfigure id=\"attachment_11988\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/04/30/10-years-of-mean-girls-the-5-best-ways-the-internet-is-celebrating/giphy-3/\" rel=\"attachment wp-att-11988\">\u003cimg class=\"size-full wp-image-11988\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/04/giphy.gif\" alt=\"Photo: Giphy\" width=\"500\" height=\"213\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://giphy.com/gifs/WKCf86R411HLG\">Giphy\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
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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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"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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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"order": 18
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"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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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"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": {
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"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"
},
"link": "/radio/program/masters-of-scale",
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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>",
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