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Instead of floating on his likability, Bateman gives us \u003cem>Bad Words\u003c/em> (opening Friday across the Bay Area), a dark comedy about Guy Trilby, a 40 year old man who finds a loophole to compete in the youth National Quill Spelling Bee. The potty mouthed, child-hating, misanthropic Trilby commits one reprehensible act after another in the film but the actor-director provides enough dark laughs that we want to see Trilby go from bad to worse.\u003c/p>\n\u003cp>KQED Pop spoke with Bateman about the film on a recent trip to San Francisco. From first time feature directing jitters to getting children to say horrible things to juggling an impressive cast of supporting actors, Bateman tells all. Just don't ask what his favorite bad word is.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/C63J6wIrD10\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>KQED Pop: Directing isn't really a new chapter in your career; you once held the Directors Guild's record for youngest director on a television series when you were 18.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jason Bateman:\u003c/strong> I don't know if that record still stands. When I directed \u003cem>The Hogan Family,\u003c/em> the Guild called and said I beat Malcolm Jamal Warner by a few months and Spielberg by a couple more months. It was a treat to do it at the time. I've been looking at the director's chair for a long time. I've been clocking it for a while and always wanted the opportunity to direct a film. It's a more robust and involved process for a director than television. I look forward to directing more television, but I had my eye on this for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>So much of the advertising for this film has been via social media, specifically the hashtag #badwords. Have you ever said a bad word over social media?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> The only social media I'm involved in is Twitter and that's basically used for business stuff. I'm not really cursing on that. I find it hard to believe anyone would be interested in my daily gripes.\u003c/p>\n\u003cp>\u003cstrong>You've done several projects where you your character has a candid relationship with a kid. Are you particularly attracted to those kinds of projects and is there some kind of humor you like from those interactions?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> Now that you point it out, I guess you're right. I don't think I look for that; the notion of looking for particular projects gives actors a lot more credit then we deserve, most of us take what we can get. I think it's coincidental I've done several projects with kids. Once I'm there, I think it's an interesting relationship you can have with a kid if you treat them as equals on a certain level and interact with them as peers. It's always interesting to have an older person and a younger person on a peer level. In this film, my character is not emotionally advanced so he considers himself on a equal playing field with the kids.\u003c/p>\n\u003cp>\u003cstrong>What were you looking for in the casting process for the film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> I was looking for a common sensibility, a common sense of humor. There are many different kinds of comedic flavors: none better or worse than the others, they're just different. I needed actors who could get laughs without winking, being broad or really even being funny. Because they're raw and authentic, they're funny. They take it seriously and that's where the comedy comes from.\u003c/p>\n\u003cp>\u003cstrong>How do you think your experiences as a child actor helped you to approach the adult subject matter with the kids in the film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> I do remember wanting to be treated like an adult as a kid actor. Unless I got nervous, then I wanted to be taken care of by an adult. I was always aware of that balance when I worked with the kids. When we have challenging material, you want to do the same thing; you want to down play it so the kid's not scared, but, if they don't understand something, you might not want to explain it to them. I didn't ask how much they understood. Their moms are there; it's not my job to educate that kid.\u003c/p>\n\u003cp>\u003cstrong>As a director acting in your own film, how do you check and balance your own performance?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> That's the risk: you've eliminated those checks and balances for yourself. You have to be honest with yourself about whether you have a chance of hitting the target. I knew I had a good shot of hitting that quality of being unlikable yet likable. I tried out other actors for my part, but they said thanks but no thanks, then I had to play the character.\u003c/p>\n\u003cp>\u003cstrong>Was there anything you particularly didn't like about the directing process on film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> Absolutely nothing. It was the greatest experience, except for the birth of my children (I have to throw that in there) of my life. It was everything I wanted it to be.\u003c/p>\n\u003cp>\u003cstrong>Were there any filmmakers that were particularly influential to you as a first time director? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> David O. Russell, Spike Jonze and Paul Thomas Anderson make films that are very raw and mix drama and comedy fairly easily without giving the audience whiplash. \u003cem>Being John Malkovich\u003c/em> was [a film] I kept coming back to. Even though it's a comedy, at the end of the day these were fragile people going through this absurd experience.\u003c/p>\n\u003cp>\u003cstrong>Do you think your work on ensemble pieces like \u003cem>Arrested Development\u003c/em> prepared you for juggling the rich cast of supporting characters in this movie?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> Yes, and I think playing team sports growing up helped too; it's the same idea. Everyone has their job and the sum total creates one thing for the audience to enjoy. Everyone needs to stitch the same fabric. I like being part of that and it was a pleasure to manage that.\u003c/p>\n\u003cp>\u003cstrong>Is there one repeating question you've had in this junket process that you wish would go away? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> \"What's your favorite bad word?\" I've generally just been saying I like them all, but I try not to abuse them. There's a time and a place for everything.\u003c/p>\n\u003cp>My second least favorite is \"Can you really spell?\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Bad Words\u003c/em>\u003c/strong> hits Bay Area theaters this Friday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11533\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/18/jason-bateman-on-his-child-actor-days-and-directing-bad-words/jason-2/\" rel=\"attachment wp-att-11533\">\u003cimg class=\"size-full wp-image-11533\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/jason.jpg\" alt=\"Photo: Fox\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/jason.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/jason-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Fox\u003c/figcaption>\u003c/figure>\n\u003cp>For many of us, actor Jason Bateman will always be eternal nice guy Michael Bluth from the cult series \u003cem>Arrested Development.\u003c/em> While the world (and the Bluth family) falls into chaos around him, there's dependable Michael/Jason: hair as mop-topped as his child actor days on \u003cem>Silver Spoons\u003c/em>, eyes as flirtatious as his teen idol period on \u003cem>The Hogan Family\u003c/em> and the affable smile as fixed as the visages of Rushmore.\u003c/p>\n\u003cp>For his feature film directorial debut, Bateman went on a decidedly different route. Instead of floating on his likability, Bateman gives us \u003cem>Bad Words\u003c/em> (opening Friday across the Bay Area), a dark comedy about Guy Trilby, a 40 year old man who finds a loophole to compete in the youth National Quill Spelling Bee. The potty mouthed, child-hating, misanthropic Trilby commits one reprehensible act after another in the film but the actor-director provides enough dark laughs that we want to see Trilby go from bad to worse.\u003c/p>\n\u003cp>KQED Pop spoke with Bateman about the film on a recent trip to San Francisco. From first time feature directing jitters to getting children to say horrible things to juggling an impressive cast of supporting actors, Bateman tells all. Just don't ask what his favorite bad word is.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe width=\"560\" height=\"315\" src=\"//www.youtube.com/embed/C63J6wIrD10\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\u003c/div>\n\u003cp>\u003cstrong>KQED Pop: Directing isn't really a new chapter in your career; you once held the Directors Guild's record for youngest director on a television series when you were 18.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jason Bateman:\u003c/strong> I don't know if that record still stands. When I directed \u003cem>The Hogan Family,\u003c/em> the Guild called and said I beat Malcolm Jamal Warner by a few months and Spielberg by a couple more months. It was a treat to do it at the time. I've been looking at the director's chair for a long time. I've been clocking it for a while and always wanted the opportunity to direct a film. It's a more robust and involved process for a director than television. I look forward to directing more television, but I had my eye on this for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>So much of the advertising for this film has been via social media, specifically the hashtag #badwords. Have you ever said a bad word over social media?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> The only social media I'm involved in is Twitter and that's basically used for business stuff. I'm not really cursing on that. I find it hard to believe anyone would be interested in my daily gripes.\u003c/p>\n\u003cp>\u003cstrong>You've done several projects where you your character has a candid relationship with a kid. Are you particularly attracted to those kinds of projects and is there some kind of humor you like from those interactions?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> Now that you point it out, I guess you're right. I don't think I look for that; the notion of looking for particular projects gives actors a lot more credit then we deserve, most of us take what we can get. I think it's coincidental I've done several projects with kids. Once I'm there, I think it's an interesting relationship you can have with a kid if you treat them as equals on a certain level and interact with them as peers. It's always interesting to have an older person and a younger person on a peer level. In this film, my character is not emotionally advanced so he considers himself on a equal playing field with the kids.\u003c/p>\n\u003cp>\u003cstrong>What were you looking for in the casting process for the film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> I was looking for a common sensibility, a common sense of humor. There are many different kinds of comedic flavors: none better or worse than the others, they're just different. I needed actors who could get laughs without winking, being broad or really even being funny. Because they're raw and authentic, they're funny. They take it seriously and that's where the comedy comes from.\u003c/p>\n\u003cp>\u003cstrong>How do you think your experiences as a child actor helped you to approach the adult subject matter with the kids in the film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> I do remember wanting to be treated like an adult as a kid actor. Unless I got nervous, then I wanted to be taken care of by an adult. I was always aware of that balance when I worked with the kids. When we have challenging material, you want to do the same thing; you want to down play it so the kid's not scared, but, if they don't understand something, you might not want to explain it to them. I didn't ask how much they understood. Their moms are there; it's not my job to educate that kid.\u003c/p>\n\u003cp>\u003cstrong>As a director acting in your own film, how do you check and balance your own performance?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> That's the risk: you've eliminated those checks and balances for yourself. You have to be honest with yourself about whether you have a chance of hitting the target. I knew I had a good shot of hitting that quality of being unlikable yet likable. I tried out other actors for my part, but they said thanks but no thanks, then I had to play the character.\u003c/p>\n\u003cp>\u003cstrong>Was there anything you particularly didn't like about the directing process on film?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> Absolutely nothing. It was the greatest experience, except for the birth of my children (I have to throw that in there) of my life. It was everything I wanted it to be.\u003c/p>\n\u003cp>\u003cstrong>Were there any filmmakers that were particularly influential to you as a first time director? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> David O. Russell, Spike Jonze and Paul Thomas Anderson make films that are very raw and mix drama and comedy fairly easily without giving the audience whiplash. \u003cem>Being John Malkovich\u003c/em> was [a film] I kept coming back to. Even though it's a comedy, at the end of the day these were fragile people going through this absurd experience.\u003c/p>\n\u003cp>\u003cstrong>Do you think your work on ensemble pieces like \u003cem>Arrested Development\u003c/em> prepared you for juggling the rich cast of supporting characters in this movie?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> Yes, and I think playing team sports growing up helped too; it's the same idea. Everyone has their job and the sum total creates one thing for the audience to enjoy. Everyone needs to stitch the same fabric. I like being part of that and it was a pleasure to manage that.\u003c/p>\n\u003cp>\u003cstrong>Is there one repeating question you've had in this junket process that you wish would go away? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>JB:\u003c/strong> \"What's your favorite bad word?\" I've generally just been saying I like them all, but I try not to abuse them. There's a time and a place for everything.\u003c/p>\n\u003cp>My second least favorite is \"Can you really spell?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As the star of \u003cem>Arrested Development\u003c/em>, Jason Bateman became best known for being the most mature member of the emotionally stunted Bluth family; the roles that followed were largely of the same tone, casting the actor as the affable, mild-mannered, often put-upon nice guy.\u003c/p>\n\u003cp>Always playing the straight man amid casts of clowns must have created some built-up performance envy, because in his directorial debut he trades in Mr. Nice Guy for Mr. Guy Trilby, finally getting to play an apparent case of severely arrested development himself.\u003c/p>\n\u003cp>Trilby is a foul-mouthed 40-year-old who bears the unhealed emotional scars of a childhood trauma, and his grand plan to make things right involves exploiting a loophole in the rules of a national spelling bee that will allow him to compete against kids.\u003c/p>\n\u003cp>http://youtu.be/yXoZCAVTzEQ\u003c/p>\n\u003cp>Of course, word difficulty at that level of competition is enough to stump most people, so age isn’t necessarily much of an advantage for Trilby. But what does give this middle-school dropout a leg up is an eidetic memory and a talent for sociopathic manipulation matched only by the ability to deliver the most profane and hurtful insult imaginable in any situation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, spelling bees make for great drama, combining the adorability factor of brilliant but awkward kids with the stakes of high-tension competition. Bateman and screenwriter Andrew Dodge are well aware of the heartwarming appeal of movies like \u003cem>Spellbound\u003c/em> and \u003cem>Akeelah and the Bee\u003c/em>, and intentionally subvert it by tossing in Trilby as icy-veined, acid-tongued contrast. The result is a mostly well-matched balance of innocence against irreverence.\u003c/p>\n\u003cp>That central contrast is mostly played out through Trilby’s uneasy friendship with Chaitanya (Rohan Chand), the big-eyed moppet staying down the hall from the storage closet the bee’s director has arranged for Trilby to bunk in. From their first encounter on the airplane to Los Angeles, it’s clear the excitable kid is destined to soften Guy’s rocky heart — mostly by being seemingly impervious to the older contestant’s constant stream of insults. Of course, as a 10-year-old spelling prodigy, Chaitanya has some experience with deflecting abuse from cruel kids, so he remains unfazed by things like Trilby’s insistence on referring to him as “Slumdog.”\u003c/p>\n\u003cp>The real reason behind Trilby’s entering the bee remains hidden through much of the movie, though it’s a piece of information that Jenny (Kathryn Hahn), a reporter whose publication is sponsoring him, is constantly trying to draw out for a feature story on his unlikely run at orthographic greatness.\u003c/p>\n\u003cp>Unfortunately, their interactions lack the sweet-and-sour dynamic that makes the Guy-Chaitanya pairing work so well, and the central joke about their repeated and ill-advised sexual encounters are probably the weakest thing about the film.\u003c/p>\n\u003cp>Despite that, and despite a blandly two-dimensional villain that wastes the talents of Allison Janney as the tournament director, what Bateman has gleaned in his years in front of the camera is the importance of jaw-dropper laughs delivered at regular intervals, wrapped up in a pithy, tightly edited package. Rejecting Apatowian bloat in favor of a trim running time of only 88 minutes, \u003cem>Bad Words\u003c/em> announces its high concept immediately and then goes about the business of telling its story without wasting a moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bateman’s directorial approach is not unlike Trilby’s manner at the contestants’ microphone, where our antihero immediately and confidently launches into his words and delivers the letters in an efficient, unbroken stream before taking his seat. In an era of overlong comedies, that’s a not insignificant play; it seems that even when Bateman is playing a horrible human onscreen, he still can’t help being a nice guy. \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=With+A+Spelling-Bee+Subversion%2C+Jason+Bateman+Breaks+Bad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the star of \u003cem>Arrested Development\u003c/em>, Jason Bateman became best known for being the most mature member of the emotionally stunted Bluth family; the roles that followed were largely of the same tone, casting the actor as the affable, mild-mannered, often put-upon nice guy.\u003c/p>\n\u003cp>Always playing the straight man amid casts of clowns must have created some built-up performance envy, because in his directorial debut he trades in Mr. Nice Guy for Mr. Guy Trilby, finally getting to play an apparent case of severely arrested development himself.\u003c/p>\n\u003cp>Trilby is a foul-mouthed 40-year-old who bears the unhealed emotional scars of a childhood trauma, and his grand plan to make things right involves exploiting a loophole in the rules of a national spelling bee that will allow him to compete against kids.\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/yXoZCAVTzEQ'\n title='//www.youtube.com/embed/yXoZCAVTzEQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of course, word difficulty at that level of competition is enough to stump most people, so age isn’t necessarily much of an advantage for Trilby. But what does give this middle-school dropout a leg up is an eidetic memory and a talent for sociopathic manipulation matched only by the ability to deliver the most profane and hurtful insult imaginable in any situation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, spelling bees make for great drama, combining the adorability factor of brilliant but awkward kids with the stakes of high-tension competition. Bateman and screenwriter Andrew Dodge are well aware of the heartwarming appeal of movies like \u003cem>Spellbound\u003c/em> and \u003cem>Akeelah and the Bee\u003c/em>, and intentionally subvert it by tossing in Trilby as icy-veined, acid-tongued contrast. The result is a mostly well-matched balance of innocence against irreverence.\u003c/p>\n\u003cp>That central contrast is mostly played out through Trilby’s uneasy friendship with Chaitanya (Rohan Chand), the big-eyed moppet staying down the hall from the storage closet the bee’s director has arranged for Trilby to bunk in. From their first encounter on the airplane to Los Angeles, it’s clear the excitable kid is destined to soften Guy’s rocky heart — mostly by being seemingly impervious to the older contestant’s constant stream of insults. Of course, as a 10-year-old spelling prodigy, Chaitanya has some experience with deflecting abuse from cruel kids, so he remains unfazed by things like Trilby’s insistence on referring to him as “Slumdog.”\u003c/p>\n\u003cp>The real reason behind Trilby’s entering the bee remains hidden through much of the movie, though it’s a piece of information that Jenny (Kathryn Hahn), a reporter whose publication is sponsoring him, is constantly trying to draw out for a feature story on his unlikely run at orthographic greatness.\u003c/p>\n\u003cp>Unfortunately, their interactions lack the sweet-and-sour dynamic that makes the Guy-Chaitanya pairing work so well, and the central joke about their repeated and ill-advised sexual encounters are probably the weakest thing about the film.\u003c/p>\n\u003cp>Despite that, and despite a blandly two-dimensional villain that wastes the talents of Allison Janney as the tournament director, what Bateman has gleaned in his years in front of the camera is the importance of jaw-dropper laughs delivered at regular intervals, wrapped up in a pithy, tightly edited package. Rejecting Apatowian bloat in favor of a trim running time of only 88 minutes, \u003cem>Bad Words\u003c/em> announces its high concept immediately and then goes about the business of telling its story without wasting a moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bateman’s directorial approach is not unlike Trilby’s manner at the contestants’ microphone, where our antihero immediately and confidently launches into his words and delivers the letters in an efficient, unbroken stream before taking his seat. In an era of overlong comedies, that’s a not insignificant play; it seems that even when Bateman is playing a horrible human onscreen, he still can’t help being a nice guy. \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=With+A+Spelling-Bee+Subversion%2C+Jason+Bateman+Breaks+Bad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The latest teen-girl fiction series to become a movie franchise, \u003cem>Divergent \u003c/em>delivers adolescent viewers some bad news and some good news. The bad is that the dystopian future will be just like high school, with kids divided into rigid cliques. The good is that adulthood will be just like high school, so teens face no major surprises.\u003c/p>\n\u003cp>In the first of three movies adapted from Veronica Roth’s trilogy, Beatrice (Shailene Woodley) lives in a trashed, walled-in Chicago where everyone belongs to one of five castes: Abnegation, Amity, Candor, Dauntless or Erudite. Each has a function that, when meshed together, should yield a smoothly functioning society.\u003c/p>\n\u003cp>Beatrice grew up in Abnegation, where rejection of self-interest means it’s the group that runs the government. But she’s about to turn 16, and so will take a test that determines which faction she’ll join for the rest of her life. The exam is future-Chicago’s SAT, in which the essay question has been replaced by a drug-induced hallucination that reveals a person’s true nature.\u003c/p>\n\u003cp>http://youtu.be/sutgWjz10sM\u003c/p>\n\u003cp>Beatrice’s test is administered by Tori (Maggie Q), a high-tech proctor who doubles as a tattoo artist. (It’s sort of like how barbers used to also be surgeons.) An alarmed Tori warns the girl that she has attributes of several clans, making her “Divergent.” This is as bad, apparently, as being a cheerleader and also belonging to the computer club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Divergents are a threat to the system, and particularly hated by the Erudite, whose societal role seems to be scheming against everyone else. The group is led by icy Jeanine (Kate Winslet, in essentially the same mean-girl-of-tomorrow role as Jodie Foster in \u003cem>Elysium\u003c/em>).\u003c/p>\n\u003cp>Cloaking her nonconformist identity, Beatrice joins the Navy SEAL-like Dauntless, and crops her name to Tris. She keeps her long hair, though, which would seem a disadvantage during basic training in which big boys fight hand-to-hand with girls — even tiny ones like Tris’ new pal Christina (Zoe Kravitz). One of the girls’ antagonists is played by smirky Miles Teller, Woodley’s costar in \u003cem>The Spectacular Now\u003c/em>.\u003c/p>\n\u003cp>Tris struggles not to be cut from Dauntless, her lack of physical strength offset by certain qualities she’s not supposed to have. Soon, the conflict shifts from training facilities to the streets, where Tris defends her former clan and her parents (Ashley Judd and Tony Goldwyn).\u003c/p>\n\u003cp>Director Neil Burger, whose last divergent character was the smart-drugged protagonist of \u003cem>Limitless\u003c/em>, allocates more than enough of this overlong movie to details of life and society in future-Chicagoland. But he fails to make any aspect of the premise persuasive.\u003c/p>\n\u003cp>And the story’s absurdities are, well, limitless. The community can’t fix its wrecked buildings and infrastructure, yet has developed all sorts of futuristic weapons and mind-control devices. These technological marvels are funded by a city-state whose only industry is growing food for its own citizens, and apparently authorized by a government run by an Amish-like sect that prizes harmony and humility.\u003c/p>\n\u003cp>The wackiest thing is that this fable of adolescence barely considers sex. Male and female Dauntless recruits share a dorm and a partition-less bathroom, yet only Tris and her hunky instructor/protector, Four (Theo James), express the desires that monopolize most teenage imaginations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Divergent \u003c/em>deftly integrates live-action and CGI, and pictures a suitably drab post-disaster future. The landscape is less grim, however, than the score, which crushes every big moment under a power ballad. In this dismal future, even the Erudite need schlocky musical cues to know how they’re supposed to feel. \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=It%27s+Faction+Against+Faction+In+A+Grim+Future+Chicago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "With \u003cem>Divergent\u003c/em>, Hollywood turns to another hit young-adult trilogy for inspiration. Shailene Woodley stars as a 16-year-old searching for her place in a divided dystopian society.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The latest teen-girl fiction series to become a movie franchise, \u003cem>Divergent \u003c/em>delivers adolescent viewers some bad news and some good news. The bad is that the dystopian future will be just like high school, with kids divided into rigid cliques. The good is that adulthood will be just like high school, so teens face no major surprises.\u003c/p>\n\u003cp>In the first of three movies adapted from Veronica Roth’s trilogy, Beatrice (Shailene Woodley) lives in a trashed, walled-in Chicago where everyone belongs to one of five castes: Abnegation, Amity, Candor, Dauntless or Erudite. Each has a function that, when meshed together, should yield a smoothly functioning society.\u003c/p>\n\u003cp>Beatrice grew up in Abnegation, where rejection of self-interest means it’s the group that runs the government. But she’s about to turn 16, and so will take a test that determines which faction she’ll join for the rest of her life. The exam is future-Chicago’s SAT, in which the essay question has been replaced by a drug-induced hallucination that reveals a person’s true nature.\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/sutgWjz10sM'\n title='//www.youtube.com/embed/sutgWjz10sM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beatrice’s test is administered by Tori (Maggie Q), a high-tech proctor who doubles as a tattoo artist. (It’s sort of like how barbers used to also be surgeons.) An alarmed Tori warns the girl that she has attributes of several clans, making her “Divergent.” This is as bad, apparently, as being a cheerleader and also belonging to the computer club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Divergents are a threat to the system, and particularly hated by the Erudite, whose societal role seems to be scheming against everyone else. The group is led by icy Jeanine (Kate Winslet, in essentially the same mean-girl-of-tomorrow role as Jodie Foster in \u003cem>Elysium\u003c/em>).\u003c/p>\n\u003cp>Cloaking her nonconformist identity, Beatrice joins the Navy SEAL-like Dauntless, and crops her name to Tris. She keeps her long hair, though, which would seem a disadvantage during basic training in which big boys fight hand-to-hand with girls — even tiny ones like Tris’ new pal Christina (Zoe Kravitz). One of the girls’ antagonists is played by smirky Miles Teller, Woodley’s costar in \u003cem>The Spectacular Now\u003c/em>.\u003c/p>\n\u003cp>Tris struggles not to be cut from Dauntless, her lack of physical strength offset by certain qualities she’s not supposed to have. Soon, the conflict shifts from training facilities to the streets, where Tris defends her former clan and her parents (Ashley Judd and Tony Goldwyn).\u003c/p>\n\u003cp>Director Neil Burger, whose last divergent character was the smart-drugged protagonist of \u003cem>Limitless\u003c/em>, allocates more than enough of this overlong movie to details of life and society in future-Chicagoland. But he fails to make any aspect of the premise persuasive.\u003c/p>\n\u003cp>And the story’s absurdities are, well, limitless. The community can’t fix its wrecked buildings and infrastructure, yet has developed all sorts of futuristic weapons and mind-control devices. These technological marvels are funded by a city-state whose only industry is growing food for its own citizens, and apparently authorized by a government run by an Amish-like sect that prizes harmony and humility.\u003c/p>\n\u003cp>The wackiest thing is that this fable of adolescence barely considers sex. Male and female Dauntless recruits share a dorm and a partition-less bathroom, yet only Tris and her hunky instructor/protector, Four (Theo James), express the desires that monopolize most teenage imaginations.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Divergent \u003c/em>deftly integrates live-action and CGI, and pictures a suitably drab post-disaster future. The landscape is less grim, however, than the score, which crushes every big moment under a power ballad. In this dismal future, even the Erudite need schlocky musical cues to know how they’re supposed to feel. \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=It%27s+Faction+Against+Faction+In+A+Grim+Future+Chicago&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>All you really need to know about \u003cem>Particle Fever \u003c/em>is that it includes footage of physicists rapping. About physics. Wearing giant Einstein masks.\u003c/p>\n\u003cp>It’s that blend of earnestness and abandon that informs Mark Levinson’s utterly absorbing documentary, a chronicle of the launch of the \u003ca href=\"http://www.npr.org/tags/135761885/large-hadron-collider\">Large Hadron Collider\u003c/a> and the search for the fabled Higgs boson, a subatomic particle long theorized but never located. The film takes a skinny 99 minutes to cover a five-year span and a territory as huge as the universe — bigger, actually, once you learn that some theorists think ours might be just one of many. It’s jaw-droppingly cool stuff, explained with admirable clarity by an affable physicist tour-guide, David E. Kaplan, and wedded to the tale of a massive technological undertaking like nothing in history. (“The biggest machine ever built by human beings,” as one scientist puts it.) And it’s flat-out thrilling.\u003c/p>\n\u003cp>The Higgs boson, if you don’t remember the headlines, is the one some people (not physicists) call “the God particle,” and it’s the key to a sprawling construct called the Standard Model, which particle physics uses to explain … well, everything. Everything we know about how the universe works. Find the Higgs, confirm the Standard Model.\u003c/p>\n\u003cp>http://youtu.be/HgA7oG2cTOc\u003c/p>\n\u003cp>Well, sort of. Much — including the notion that there might be multiple universes, with many different flavors of physics — depends on the \u003cem>mass\u003c/em> of the Higgs. That’s why thousands of people teamed up to find it, spending two decades building this massive supercollider to smash beams of protons together, essentially recreating the Big Bang so they can measure the Higgs. Talk about a quest with some stakes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levinson’s storytelling frames that quest so aptly that it’s just minutes before you’re rooting for the film’s handful of protagonists: Kaplan, one of the theorists who frame the ideas about how the universe is structured; the wonderfully enthusiastic Monica Dunford, a postdoctoral student who’s among the experimentalists trying to prove or disprove those theories; the magnificent Fabiola Gianotti, a classical pianist turned physicist who’s in charge of the huge experiment Dunford is working on; the intense Nima Arkani-Hamed, Kaplan’s friend and rival theorist; elegant Martin Aleksa, an Austrian experimentalist and father of two.\u003c/p>\n\u003cp>They’re ridiculously geeked out when Google celebrates their work with a doodle on the day their phenomenal machine goes online. They party like the world’s nerdiest rock stars that night. (It’s where that hysterical rap act comes in.) Then, perhaps inevitably, there’s a setback — what’s got to be the most heartbreaking helium leak in cinematic history. Everything’s suddenly at a standstill, and no one knows when it’ll start up again.\u003c/p>\n\u003cp>Playing out amid stunning landscapes near Geneva, Switzerland, with side trips to visit the theorists at Johns Hopkins and Stanford and such, \u003cem>Particle Fever\u003c/em> is an unexpectedly dramatic look into an area of inquiry so esoteric that most of us will never quite get our heads around it. But Robert Miller’s playful music punctuates the narrative and helps underscore the stakes; witty graphics and animations help elucidate complicated theories.\u003c/p>\n\u003cp>And no, that setback won’t be the end of the story. \u003cem>Particle Fever\u003c/em> sticks with its endearing heroes until the Large Hadron Collider is patched up and humming along again, and thousands gather from all over to watch as the data begins to flood in. And we’re there with them, inside the room, on the cusp of a monumentally significant scientific breakthrough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The climax of the film is a pair of PowerPoint presentations — PowerPoint presentations! — in which these people we’ve come to root for interpret that data for an auditorium full of luminaries including Peter Higgs, the physicist who first posited the existence of the particle named for him. He inspires the crowd to cheers, which is wonderful. The presentations inspire lumps in the throat — which is an out-and-out triumph, for the physicists onscreen and the filmmakers who put them there. \u003cem>\u003cstrong>(Recommended.)\u003c/strong>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Particle+Fever%27%3A+Thrills%2C+Chills+And+High+Subatomic+Drama&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "What's possibly the nerdiest documentary ever made turns out to be one of the most inspiring, too. It's the inside story of the quest for a tiny, elusive particle of matter. \u003cem>\u003cstrong>(Recommended.)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All you really need to know about \u003cem>Particle Fever \u003c/em>is that it includes footage of physicists rapping. About physics. Wearing giant Einstein masks.\u003c/p>\n\u003cp>It’s that blend of earnestness and abandon that informs Mark Levinson’s utterly absorbing documentary, a chronicle of the launch of the \u003ca href=\"http://www.npr.org/tags/135761885/large-hadron-collider\">Large Hadron Collider\u003c/a> and the search for the fabled Higgs boson, a subatomic particle long theorized but never located. The film takes a skinny 99 minutes to cover a five-year span and a territory as huge as the universe — bigger, actually, once you learn that some theorists think ours might be just one of many. It’s jaw-droppingly cool stuff, explained with admirable clarity by an affable physicist tour-guide, David E. Kaplan, and wedded to the tale of a massive technological undertaking like nothing in history. (“The biggest machine ever built by human beings,” as one scientist puts it.) And it’s flat-out thrilling.\u003c/p>\n\u003cp>The Higgs boson, if you don’t remember the headlines, is the one some people (not physicists) call “the God particle,” and it’s the key to a sprawling construct called the Standard Model, which particle physics uses to explain … well, everything. Everything we know about how the universe works. Find the Higgs, confirm the Standard Model.\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/HgA7oG2cTOc'\n title='//www.youtube.com/embed/HgA7oG2cTOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, sort of. Much — including the notion that there might be multiple universes, with many different flavors of physics — depends on the \u003cem>mass\u003c/em> of the Higgs. That’s why thousands of people teamed up to find it, spending two decades building this massive supercollider to smash beams of protons together, essentially recreating the Big Bang so they can measure the Higgs. Talk about a quest with some stakes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Levinson’s storytelling frames that quest so aptly that it’s just minutes before you’re rooting for the film’s handful of protagonists: Kaplan, one of the theorists who frame the ideas about how the universe is structured; the wonderfully enthusiastic Monica Dunford, a postdoctoral student who’s among the experimentalists trying to prove or disprove those theories; the magnificent Fabiola Gianotti, a classical pianist turned physicist who’s in charge of the huge experiment Dunford is working on; the intense Nima Arkani-Hamed, Kaplan’s friend and rival theorist; elegant Martin Aleksa, an Austrian experimentalist and father of two.\u003c/p>\n\u003cp>They’re ridiculously geeked out when Google celebrates their work with a doodle on the day their phenomenal machine goes online. They party like the world’s nerdiest rock stars that night. (It’s where that hysterical rap act comes in.) Then, perhaps inevitably, there’s a setback — what’s got to be the most heartbreaking helium leak in cinematic history. Everything’s suddenly at a standstill, and no one knows when it’ll start up again.\u003c/p>\n\u003cp>Playing out amid stunning landscapes near Geneva, Switzerland, with side trips to visit the theorists at Johns Hopkins and Stanford and such, \u003cem>Particle Fever\u003c/em> is an unexpectedly dramatic look into an area of inquiry so esoteric that most of us will never quite get our heads around it. But Robert Miller’s playful music punctuates the narrative and helps underscore the stakes; witty graphics and animations help elucidate complicated theories.\u003c/p>\n\u003cp>And no, that setback won’t be the end of the story. \u003cem>Particle Fever\u003c/em> sticks with its endearing heroes until the Large Hadron Collider is patched up and humming along again, and thousands gather from all over to watch as the data begins to flood in. And we’re there with them, inside the room, on the cusp of a monumentally significant scientific breakthrough.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The climax of the film is a pair of PowerPoint presentations — PowerPoint presentations! — in which these people we’ve come to root for interpret that data for an auditorium full of luminaries including Peter Higgs, the physicist who first posited the existence of the particle named for him. He inspires the crowd to cheers, which is wonderful. The presentations inspire lumps in the throat — which is an out-and-out triumph, for the physicists onscreen and the filmmakers who put them there. \u003cem>\u003cstrong>(Recommended.)\u003c/strong>\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Particle+Fever%27%3A+Thrills%2C+Chills+And+High+Subatomic+Drama&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Grand Budapest Hotel': Kitsch, Cameos And A Gloriously Stylized Europe",
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"content": "\u003cp>Wes Anderson has his share of groupies and his somewhat smaller share of skeptics who find him a tad precious. As someone who leans toward the precious view, but is open to his grace notes, I found \u003cem>The Grand Budapest Hotel\u003c/em> mostly delightful.\u003c/p>\n\u003cp>It’s a madcap comedy, but with hints of tragedy lurking outside the usual Anderson dollhouse frames. The central character is Gustave H., played by Ralph Fiennes. He’s the concierge of a kitschy, opulent, high-class European hotel between World Wars I and II.\u003c/p>\n\u003cp>But it takes a while to \u003cem>get\u003c/em> to Gustave. We journey to the past via layers of narration. First a girl pays tribute to a statue of a dead author, then Anderson cuts to the author, played by Tom Wilkinson, who tells the story of his middle-aged self — that’s Jude Law — on a trip to the faded hotel in the 1960s. And then Law’s character takes over the narration and tells us how he met the hotel owner, Mr. Zero Moustafa — played by F. Murray Abraham — and how Moustafa told him of his time in the ’30s as a lobby boy and assistant to Gustave H.\u003c/p>\n\u003cp>Why a story within a story within a story within a story? Anderson’s inspiration comes from Stefan Zweig, a writer who fled Vienna before Hitler’s ascent and then labored to evoke the world he left behind for fear it would pass from memory. Anderson’s Chinese-boxes storytelling takes the onus off him to be “realistic.” In memory, everything is stylized, gloriously fake and yet brimming with real longing.\u003c/p>\n\u003cp>Composition and color isn’t incidental — it’s the whole deal. The mountainside Grand Budapest is a miniature — a dollhouse — reached by model train. Inside, it expands. It’s immense. The choreography of staff and guests is busy and militaristic in its precision. The colors are intense: pink walls, crimson carpets, staff waistcoats of electric magenta. Anderson can make you dream of a design for living on a higher, more beautiful plane.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Young Mustafa, played by Tony Revolori, meets Gustave in the course of mid-morning rounds and is, at first, an unpleasant surprise: The teen has been hired without Gustave’s knowledge by an underling.\u003c/p>\n\u003cp>Anderson’s visuals are so witty they transcend camp, but his dialogue isn’t quite at that level. That’s why it’s good he has Ralph Fiennes, a stage pro who moves with aplomb and speaks his lines so trippingly they sound like they’re funnier than they are.\u003c/p>\n\u003cp>The boy (Zero), alas, is another of Anderson’s deadpan mouth breathers, obeying Gustave’s orders on cue. He could have more personality. Sundry guest stars lend their wattage to \u003cem>The Grand Budapest Hotel\u003c/em>: Tilda Swinton, Bill Murray, Jeff Goldblum, Owen Wilson, Adrien Brody, Jason Schwartzman, Harvey Keitel. Anderson is a pied piper who picks up actors as he goes along — and it would be nice if they had, you know, roles. But the pop-up cameos \u003cem>are\u003c/em> a source of pleasure; they give the film a family vibe.\u003c/p>\n\u003cp>Oh yes, there’s a plot. Gustave is given to bedding his elderly guests, and one — Tilda Swinton, withered by makeup — has a premonition of her death. When news comes she has, indeed, died, Gustave grabs Zero and boards a train for her mansion. Soon he’s blamed for her murder and hunted by police led by Edward Norton and a grim-faced assassin played by Willem Dafoe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last half of \u003cem>The Grand Budapest Hotel\u003c/em> has a chase through the Alps that’s staged and shot like a pipe dream of flight — it’s thrilling. And Anderson’s campy dialogue doesn’t hurt too much. Somehow it makes Europe’s encroaching fascism seem even creepier. The final scenes are handled with delicacy but deliver an emotional wallop. It’s a movie that makes you sad to re-enter the real world, in which people are less exuberant, proportions less harmonious and colors far less vivid. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Grand+Budapest+Hotel%27%3A+Kitsch%2C+Cameos+And+A+Gloriously+Stylized+Europe&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wes Anderson has his share of groupies and his somewhat smaller share of skeptics who find him a tad precious. As someone who leans toward the precious view, but is open to his grace notes, I found \u003cem>The Grand Budapest Hotel\u003c/em> mostly delightful.\u003c/p>\n\u003cp>It’s a madcap comedy, but with hints of tragedy lurking outside the usual Anderson dollhouse frames. The central character is Gustave H., played by Ralph Fiennes. He’s the concierge of a kitschy, opulent, high-class European hotel between World Wars I and II.\u003c/p>\n\u003cp>But it takes a while to \u003cem>get\u003c/em> to Gustave. We journey to the past via layers of narration. First a girl pays tribute to a statue of a dead author, then Anderson cuts to the author, played by Tom Wilkinson, who tells the story of his middle-aged self — that’s Jude Law — on a trip to the faded hotel in the 1960s. And then Law’s character takes over the narration and tells us how he met the hotel owner, Mr. Zero Moustafa — played by F. Murray Abraham — and how Moustafa told him of his time in the ’30s as a lobby boy and assistant to Gustave H.\u003c/p>\n\u003cp>Why a story within a story within a story within a story? Anderson’s inspiration comes from Stefan Zweig, a writer who fled Vienna before Hitler’s ascent and then labored to evoke the world he left behind for fear it would pass from memory. Anderson’s Chinese-boxes storytelling takes the onus off him to be “realistic.” In memory, everything is stylized, gloriously fake and yet brimming with real longing.\u003c/p>\n\u003cp>Composition and color isn’t incidental — it’s the whole deal. The mountainside Grand Budapest is a miniature — a dollhouse — reached by model train. Inside, it expands. It’s immense. The choreography of staff and guests is busy and militaristic in its precision. The colors are intense: pink walls, crimson carpets, staff waistcoats of electric magenta. Anderson can make you dream of a design for living on a higher, more beautiful plane.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Young Mustafa, played by Tony Revolori, meets Gustave in the course of mid-morning rounds and is, at first, an unpleasant surprise: The teen has been hired without Gustave’s knowledge by an underling.\u003c/p>\n\u003cp>Anderson’s visuals are so witty they transcend camp, but his dialogue isn’t quite at that level. That’s why it’s good he has Ralph Fiennes, a stage pro who moves with aplomb and speaks his lines so trippingly they sound like they’re funnier than they are.\u003c/p>\n\u003cp>The boy (Zero), alas, is another of Anderson’s deadpan mouth breathers, obeying Gustave’s orders on cue. He could have more personality. Sundry guest stars lend their wattage to \u003cem>The Grand Budapest Hotel\u003c/em>: Tilda Swinton, Bill Murray, Jeff Goldblum, Owen Wilson, Adrien Brody, Jason Schwartzman, Harvey Keitel. Anderson is a pied piper who picks up actors as he goes along — and it would be nice if they had, you know, roles. But the pop-up cameos \u003cem>are\u003c/em> a source of pleasure; they give the film a family vibe.\u003c/p>\n\u003cp>Oh yes, there’s a plot. Gustave is given to bedding his elderly guests, and one — Tilda Swinton, withered by makeup — has a premonition of her death. When news comes she has, indeed, died, Gustave grabs Zero and boards a train for her mansion. Soon he’s blamed for her murder and hunted by police led by Edward Norton and a grim-faced assassin played by Willem Dafoe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last half of \u003cem>The Grand Budapest Hotel\u003c/em> has a chase through the Alps that’s staged and shot like a pipe dream of flight — it’s thrilling. And Anderson’s campy dialogue doesn’t hurt too much. Somehow it makes Europe’s encroaching fascism seem even creepier. The final scenes are handled with delicacy but deliver an emotional wallop. It’s a movie that makes you sad to re-enter the real world, in which people are less exuberant, proportions less harmonious and colors far less vivid. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Grand+Budapest+Hotel%27%3A+Kitsch%2C+Cameos+And+A+Gloriously+Stylized+Europe&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "How Wes Anderson Created the Aesthetic of a Generation",
"title": "How Wes Anderson Created the Aesthetic of a Generation",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cfigure id=\"attachment_11517\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/13/how-wes-anderson-created-the-aesthetic-of-a-generation/moonrise/\" rel=\"attachment wp-att-11517\">\u003cimg class=\"size-full wp-image-11517\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/moonrise.jpg\" alt=\"Photo: Buena Vista Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Buena Vista Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what part of the movie you happen to come in on, you can always tell when you've stepped into Wes Anderson's cinematic world. The color schemes, the cinematography that pre-dates Instagram filters but looks nearly identical to a rich \"Kelvin\" in some scenes, the retro pastiches of archaic technology that you can never quite place in any one era. Add a handful of semi-aristocratic misfits and a soundtrack of Benjamin Britten concertos and LP b-sides and you've got everything from \u003cem>Bottle Rocket\u003c/em> up through Anderson's latest, \u003cem>The Grand Budapest Hotel\u003c/em>.\u003c/p>\n\u003cp>This assessment is in no way a dig at the prolific director and screenwriter. Some filmmakers morph their visions from project to project, creating very specific one-of-a-kind worlds with few repeating elements from other works. Anderson is more old Hollywood. The way you could always tell you were in a technicolor Vincente Minnelli dream or a macho John Ford adventure is similar to the Anderson philosophy; he is a filmmaker creating an overall body of work. Part of the magic of an Anderson film is the way a \u003cem>Royal Tenenbaums\u003c/em> pairs with a \u003cem>Life Aquatic\u003c/em> and seeing how the Anderson repertory troupe (including but not limited to Jason Schwartzman, Owen Wilson, Bill Murray, Angelica Huston, Tilda Swinton, etc.) morph (or don't morph) from one film with the director to the next. The closest aesthetic and collaborative consistency in contemporary entertainment is Ryan Murphy's high concept television anthology \u003cem>American Horror Story\u003c/em>, done with the same rich visual language and reoccurring performers but far darker themes.\u003c/p>\n\u003cfigure id=\"attachment_11512\" class=\"wp-caption alignleft\" style=\"max-width: 359px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/13/how-wes-anderson-created-the-aesthetic-of-a-generation/il_570xn-365471231_cha6/\" rel=\"attachment wp-att-11512\">\u003cimg class=\" wp-image-11512 \" title=\"Wes Anderson Color Palette\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/il_570xN.365471231_cha6.jpg\" alt=\"Photo: Beth Mathews Design\" width=\"359\" height=\"465\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/il_570xN.365471231_cha6.jpg 570w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/il_570xN.365471231_cha6-400x517.jpg 400w\" sizes=\"(max-width: 359px) 100vw, 359px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.etsy.com/listing/106804670/wes-anderson-film-color-palette\">Beth Mathews Design\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2014/03/06/garden/the-wildebeest-in-the-room.html\">A recent New York Times article \u003c/a>explored the territory where the Anderson aesthetic and the real world converge in home decor. As I sat reading my print edition of the paper in my 1940s train station waiting room chair (with contrasting 1970s embroidered pillow), it occurred to me that yes, maybe there was something to this link. When seen in a certain light, my living room was almost the same Steve Zissou blue that reoccurs in a number of Anderson's movies. I probably picked the color around the time \u003cem>Darjeeling Limited\u003c/em> was released, which was when I bought that travel tea service that folds down into a plaid plastic suitcase from a defunct airline. Also, admittedly, throughout the entire screening of \u003cem>Grand Budapest,\u003c/em> I kept nudging my friend and whispering \"Ooooh, I wonder where they got that upholstery,\" while she asked me if the military coats featured would translate well in San Francisco.\u003c/p>\n\u003cp>I was beginning to see a certain kind of consistency to some of my aesthetic decisions and subtle influences from the Anderson oeuvre. It's not just me though. On a good day, my favorite hangouts in San Francisco (or New York and possibly a few neighborhoods in Eastern Europe) resemble a watered down Wes Anderson World.\u003c/p>\n\u003cp>The year everyone started embracing colored beanies coincided with \u003cem>The Life Aquatic\u003c/em>. And that same year, the number of ironic '70s Adidas track suits on Valencia Street doubled, although there was already a presence because of the red warm-up gear featured a few years before in \u003cem>The Royal Tenenbaums\u003c/em>. I also blame Wes Anderson for facial hair; we can definitely trace beards back to him via \u003cem>Tenenbaums\u003c/em> and \u003cem>Life Aquatic,\u003c/em> and there's also a strong mustache story to all of Jason Schwartzman's adult Anderson roles (not to mention Owen Wison's blond pilot stache in \u003cem>Life Aquatic\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11510\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/13/how-wes-anderson-created-the-aesthetic-of-a-generation/moonrise-kingdom/\" rel=\"attachment wp-att-11510\">\u003cimg class=\" wp-image-11510 \" title=\"Moonrise Kingdom Record Player\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/moonrise-kingdom.jpg\" alt=\"moonrise-kingdom\" width=\"432\" height=\"259\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise-kingdom.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise-kingdom-400x240.jpg 400w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp>And it goes even further than decor. You simply cannot buy a record now without feeling like you're supporting a Wes Anderson lifestyle choice. His devotion to the pre-digital technology of his childhood is a theme in all his films, but, if you buy vinyl A.) by Nico, B.) featuring foreign language covers of any rock songs, C.) of classic children's stories sung as operas, you may as well send the man a royalty check. My own vinyl collection is just as much a testament to this as yours is. And for the record, I also love futura, the preferred font of the director in many of his credit sequences. I'm writing this in a futura narration now, so please imagine it with me. Also, imagine I'm narrating it from a soda fountain counter eating an ice cream sundae that matches the curtains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you want to further recreate the Wes Anderson world for yourself, allow me to offer a few tips. Start by picking your favorite paint color from a 1960s pharmaceutical catalogue (the relaxing cobalt of an anti-anxiety pill or a bright benzo orange are good places to start). After you've painted your entire house this color (including the trim and the backs of doors), take sandpaper to it. If possible, add a white chair rail stripe for emphasis. Buy no furniture made after 1973, unless you go to CB2 and pick up one of their living rooms in its entirety because they've basically been knocking off elements of his sets for years. Then, throw in some inappropriate Victoriana. Include as much taxidermy as possible (specifically birds, or breeds of dogs and cats representing all the dead pets in Anderson's films) and forget to dust for three to six years.\u003c/p>\n\u003cp>When shopping for your new wardrobe, nostalgic sports brands are a start but why not go the full fashion route and wear uniforms? Fast food worker uniforms from the the paper hat days, scouting gear, old softball jerseys, prep school blazers, bellhop hats and military decorations from nonexistent countries are always out there waiting for someone with a little nerve. Top any outfit with your grandmother's most embarrassing fur coat but only if it smells as ancient as it looks.\u003c/p>\n\u003cp>The following activities are acceptable if you make the full lifestyle change over:\u003c/p>\n\u003cp>1.) drinking pre-artisanal cocktails from hotel bars (but only if they allow smoking)\u003cbr>\n2.) tricycling through pergolas in neglected public parks\u003cbr>\n3.) old timey weight lifting à la Atlantic City piers of yore\u003cbr>\n4.) following a paper map\u003c/p>\n\u003cp>If you meet a dowager duchess along the way, befriend her, but be weary of the rapscallions of the road house. Pass along words of understanding to children following their dreams and let them reconnect with their fathers on their own.\u003c/p>\n\u003cp>How many other filmmakers, Quentin Tarantino aside, could you base your decor, wardrobe and day around? Maybe Lars von Trier, but I hope you would never want to. Among a certain class of hipsteratti, it's Wes Anderson's world, we're just living in it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grand Budapest Hotel\u003c/em>\u003c/strong> by Wes Anderson is now playing in the Bay Area.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11517\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/13/how-wes-anderson-created-the-aesthetic-of-a-generation/moonrise/\" rel=\"attachment wp-att-11517\">\u003cimg class=\"size-full wp-image-11517\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/moonrise.jpg\" alt=\"Photo: Buena Vista Pictures\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Buena Vista Pictures\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what part of the movie you happen to come in on, you can always tell when you've stepped into Wes Anderson's cinematic world. The color schemes, the cinematography that pre-dates Instagram filters but looks nearly identical to a rich \"Kelvin\" in some scenes, the retro pastiches of archaic technology that you can never quite place in any one era. Add a handful of semi-aristocratic misfits and a soundtrack of Benjamin Britten concertos and LP b-sides and you've got everything from \u003cem>Bottle Rocket\u003c/em> up through Anderson's latest, \u003cem>The Grand Budapest Hotel\u003c/em>.\u003c/p>\n\u003cp>This assessment is in no way a dig at the prolific director and screenwriter. Some filmmakers morph their visions from project to project, creating very specific one-of-a-kind worlds with few repeating elements from other works. Anderson is more old Hollywood. The way you could always tell you were in a technicolor Vincente Minnelli dream or a macho John Ford adventure is similar to the Anderson philosophy; he is a filmmaker creating an overall body of work. Part of the magic of an Anderson film is the way a \u003cem>Royal Tenenbaums\u003c/em> pairs with a \u003cem>Life Aquatic\u003c/em> and seeing how the Anderson repertory troupe (including but not limited to Jason Schwartzman, Owen Wilson, Bill Murray, Angelica Huston, Tilda Swinton, etc.) morph (or don't morph) from one film with the director to the next. The closest aesthetic and collaborative consistency in contemporary entertainment is Ryan Murphy's high concept television anthology \u003cem>American Horror Story\u003c/em>, done with the same rich visual language and reoccurring performers but far darker themes.\u003c/p>\n\u003cfigure id=\"attachment_11512\" class=\"wp-caption alignleft\" style=\"max-width: 359px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/13/how-wes-anderson-created-the-aesthetic-of-a-generation/il_570xn-365471231_cha6/\" rel=\"attachment wp-att-11512\">\u003cimg class=\" wp-image-11512 \" title=\"Wes Anderson Color Palette\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/il_570xN.365471231_cha6.jpg\" alt=\"Photo: Beth Mathews Design\" width=\"359\" height=\"465\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/il_570xN.365471231_cha6.jpg 570w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/il_570xN.365471231_cha6-400x517.jpg 400w\" sizes=\"(max-width: 359px) 100vw, 359px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.etsy.com/listing/106804670/wes-anderson-film-color-palette\">Beth Mathews Design\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2014/03/06/garden/the-wildebeest-in-the-room.html\">A recent New York Times article \u003c/a>explored the territory where the Anderson aesthetic and the real world converge in home decor. As I sat reading my print edition of the paper in my 1940s train station waiting room chair (with contrasting 1970s embroidered pillow), it occurred to me that yes, maybe there was something to this link. When seen in a certain light, my living room was almost the same Steve Zissou blue that reoccurs in a number of Anderson's movies. I probably picked the color around the time \u003cem>Darjeeling Limited\u003c/em> was released, which was when I bought that travel tea service that folds down into a plaid plastic suitcase from a defunct airline. Also, admittedly, throughout the entire screening of \u003cem>Grand Budapest,\u003c/em> I kept nudging my friend and whispering \"Ooooh, I wonder where they got that upholstery,\" while she asked me if the military coats featured would translate well in San Francisco.\u003c/p>\n\u003cp>I was beginning to see a certain kind of consistency to some of my aesthetic decisions and subtle influences from the Anderson oeuvre. It's not just me though. On a good day, my favorite hangouts in San Francisco (or New York and possibly a few neighborhoods in Eastern Europe) resemble a watered down Wes Anderson World.\u003c/p>\n\u003cp>The year everyone started embracing colored beanies coincided with \u003cem>The Life Aquatic\u003c/em>. And that same year, the number of ironic '70s Adidas track suits on Valencia Street doubled, although there was already a presence because of the red warm-up gear featured a few years before in \u003cem>The Royal Tenenbaums\u003c/em>. I also blame Wes Anderson for facial hair; we can definitely trace beards back to him via \u003cem>Tenenbaums\u003c/em> and \u003cem>Life Aquatic,\u003c/em> and there's also a strong mustache story to all of Jason Schwartzman's adult Anderson roles (not to mention Owen Wison's blond pilot stache in \u003cem>Life Aquatic\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_11510\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/13/how-wes-anderson-created-the-aesthetic-of-a-generation/moonrise-kingdom/\" rel=\"attachment wp-att-11510\">\u003cimg class=\" wp-image-11510 \" title=\"Moonrise Kingdom Record Player\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/moonrise-kingdom.jpg\" alt=\"moonrise-kingdom\" width=\"432\" height=\"259\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise-kingdom.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/moonrise-kingdom-400x240.jpg 400w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Focus Features\u003c/figcaption>\u003c/figure>\n\u003cp>And it goes even further than decor. You simply cannot buy a record now without feeling like you're supporting a Wes Anderson lifestyle choice. His devotion to the pre-digital technology of his childhood is a theme in all his films, but, if you buy vinyl A.) by Nico, B.) featuring foreign language covers of any rock songs, C.) of classic children's stories sung as operas, you may as well send the man a royalty check. My own vinyl collection is just as much a testament to this as yours is. And for the record, I also love futura, the preferred font of the director in many of his credit sequences. I'm writing this in a futura narration now, so please imagine it with me. Also, imagine I'm narrating it from a soda fountain counter eating an ice cream sundae that matches the curtains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you want to further recreate the Wes Anderson world for yourself, allow me to offer a few tips. Start by picking your favorite paint color from a 1960s pharmaceutical catalogue (the relaxing cobalt of an anti-anxiety pill or a bright benzo orange are good places to start). After you've painted your entire house this color (including the trim and the backs of doors), take sandpaper to it. If possible, add a white chair rail stripe for emphasis. Buy no furniture made after 1973, unless you go to CB2 and pick up one of their living rooms in its entirety because they've basically been knocking off elements of his sets for years. Then, throw in some inappropriate Victoriana. Include as much taxidermy as possible (specifically birds, or breeds of dogs and cats representing all the dead pets in Anderson's films) and forget to dust for three to six years.\u003c/p>\n\u003cp>When shopping for your new wardrobe, nostalgic sports brands are a start but why not go the full fashion route and wear uniforms? Fast food worker uniforms from the the paper hat days, scouting gear, old softball jerseys, prep school blazers, bellhop hats and military decorations from nonexistent countries are always out there waiting for someone with a little nerve. Top any outfit with your grandmother's most embarrassing fur coat but only if it smells as ancient as it looks.\u003c/p>\n\u003cp>The following activities are acceptable if you make the full lifestyle change over:\u003c/p>\n\u003cp>1.) drinking pre-artisanal cocktails from hotel bars (but only if they allow smoking)\u003cbr>\n2.) tricycling through pergolas in neglected public parks\u003cbr>\n3.) old timey weight lifting à la Atlantic City piers of yore\u003cbr>\n4.) following a paper map\u003c/p>\n\u003cp>If you meet a dowager duchess along the way, befriend her, but be weary of the rapscallions of the road house. Pass along words of understanding to children following their dreams and let them reconnect with their fathers on their own.\u003c/p>\n\u003cp>How many other filmmakers, Quentin Tarantino aside, could you base your decor, wardrobe and day around? Maybe Lars von Trier, but I hope you would never want to. Among a certain class of hipsteratti, it's Wes Anderson's world, we're just living in it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Nick and Meg have gotten into a bit of a rut in \u003cem>Le Week-End\u003c/em>, and to get out of it they’re “celebrating” — if that’s the word — their 30th anniversary by heading back to a city they last saw on their honeymoon. Nick has even booked a room in the same hotel — which is not, alas, quite the way Meg remembers it. “Beige,” she sniffs.\u003c/p>\n\u003cp>Recriminations follow, of course, but these two are kind of in sync even when they’re fighting. And once Meg has found what she considers more acceptable lodgings, her mood brightens to the point that, to Nick’s surprise, she’s even willing to consider sex.\u003c/p>\n\u003cp>The next thing you hear is panting, but it’s from climbing the stairs to Sacre Coeur. This is not 30 years ago, and Nick and Meg, alternately snarling and affectionate as played by Jim Broadbent and Lindsay Duncan, can be excused for being winded. Life has dealt them a lot of tough hills to climb.\u003c/p>\n\u003cp>http://youtu.be/vB6508I35Mo\u003c/p>\n\u003cp>And there’s a new one, as Meg discovers when Nick doesn’t seem to be enjoying a bistro lunch that they have both just agreed is spectacular: He’s being forced out of his job as a college professor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nick will have another surprise for a college friend (Jeff Goldblum) who invites them to a party, only to watch as their frustrations go from passive-aggressive to toxic at the dinner table. The way they bicker and fret, Nick and Meg could almost be that couple in Richard Linklater’s \u003cem>Before Sunrise, Before Sunset, Before Midnight\u003c/em> movies, only British and older.\u003c/p>\n\u003cp>But director Roger Michell (\u003cem>Notting Hill\u003c/em>) has something else in mind, something he hints broadly at by having his stars re-create a “cafe dance” scene from the ’60s crime flick \u003cem>Band of Outsiders\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Turns out what the middle-aged souls in \u003cem>Le Week-End\u003c/em> are channeling is the youthful rebellion that once fueled the French New Wave. As they execute the tricky dance steps, you realize they still think of themselves as teenagers — skipping out on restaurant checks, trashing their hotel room, mimicking old movie scenes. And since it’s Broadbent, Duncan and Goldblum doing the skipping, trashing and mimicking, their second adolescence is great fun to watch. \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=Middle-Aged+Souls+Channel+Teen+Rebellion%2C+Just+For+A+%27Week-End%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nick and Meg have gotten into a bit of a rut in \u003cem>Le Week-End\u003c/em>, and to get out of it they’re “celebrating” — if that’s the word — their 30th anniversary by heading back to a city they last saw on their honeymoon. Nick has even booked a room in the same hotel — which is not, alas, quite the way Meg remembers it. “Beige,” she sniffs.\u003c/p>\n\u003cp>Recriminations follow, of course, but these two are kind of in sync even when they’re fighting. And once Meg has found what she considers more acceptable lodgings, her mood brightens to the point that, to Nick’s surprise, she’s even willing to consider sex.\u003c/p>\n\u003cp>The next thing you hear is panting, but it’s from climbing the stairs to Sacre Coeur. This is not 30 years ago, and Nick and Meg, alternately snarling and affectionate as played by Jim Broadbent and Lindsay Duncan, can be excused for being winded. Life has dealt them a lot of tough hills to climb.\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/vB6508I35Mo'\n title='//www.youtube.com/embed/vB6508I35Mo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And there’s a new one, as Meg discovers when Nick doesn’t seem to be enjoying a bistro lunch that they have both just agreed is spectacular: He’s being forced out of his job as a college professor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_11478\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/12/daisies-director-vera-chytilova-dies-at-85/july15dag/\" rel=\"attachment wp-att-11478\">\u003cimg class=\"size-full wp-image-11478\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/July15DAG.jpg\" alt=\"Photo: Janus Films\" width=\"550\" height=\"402\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/July15DAG.jpg 550w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/July15DAG-400x292.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Janus Films\u003c/figcaption>\u003c/figure>\n\u003cp>Every now and then, a director barges into your head, toys around with your optic nerve, and changes the way you see the world. That's what visual art is capable of and what Vera Chytilová, who \u003ca href=\"http://abcnews.go.com/Entertainment/wireStory/czech-filmmaker-vera-chytilova-dies-85-22880989\">died today at the age of 85\u003c/a>, accomplished throughout her career. Her feminist, avant-garde films helped define Czech New Wave and her art was so powerful that the Czech authorities censored her existing work and banned her from making any more for several years. Self described as \"an overheated kettle that you can’t turn down,\" the staunch Chytilová continued to speak out against the communist regime and eventually went on to direct more movies (her last was released in 2006).\u003c/p>\n\u003cp>The first time I saw Chytilová's work was in a Czech Writing class I took in grad school. We watched \u003cem>Daisies\u003c/em>, her 1966 absurdist masterpiece that follows two young girls as they swing from chandeliers, stuff their faces full of cake, toy with hapless men, and promote anarchy and adventure wherever they go. So often in that class, people would space out or just straight up fall asleep during screenings, but I remember everyone being enraptured by \u003cem>Daisies\u003c/em>, its stunning visuals holding all of our eyeballs hostage.\u003c/p>\n\u003cp>And they still do, to some degree; visions will unexpectedly punctuate ordinary moments of my day. Ivana Karbanová setting fire to paper streamers, while I'm biking to work. Jitka Cerhová's decapitated head laughing and sticking out its tongue, while I'm eating lunch. This is the great, comforting assurance whenever a great person dies; their bodies are gone, but their fingerprints are everywhere.\u003c/p>\n\u003cp>Watch this epic food fight from \u003cem>Daisies\u003c/em> and start some trouble tonight in Chytilová's honor.\u003c/p>\n\u003cdiv class=\"single-video\">\n\u003cp>\u003ciframe src=\"//www.youtube.com/embed/zm9Gh8Fpy0c\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11478\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/12/daisies-director-vera-chytilova-dies-at-85/july15dag/\" rel=\"attachment wp-att-11478\">\u003cimg class=\"size-full wp-image-11478\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/July15DAG.jpg\" alt=\"Photo: Janus Films\" width=\"550\" height=\"402\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/July15DAG.jpg 550w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/July15DAG-400x292.jpg 400w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Janus Films\u003c/figcaption>\u003c/figure>\n\u003cp>Every now and then, a director barges into your head, toys around with your optic nerve, and changes the way you see the world. That's what visual art is capable of and what Vera Chytilová, who \u003ca href=\"http://abcnews.go.com/Entertainment/wireStory/czech-filmmaker-vera-chytilova-dies-85-22880989\">died today at the age of 85\u003c/a>, accomplished throughout her career. Her feminist, avant-garde films helped define Czech New Wave and her art was so powerful that the Czech authorities censored her existing work and banned her from making any more for several years. Self described as \"an overheated kettle that you can’t turn down,\" the staunch Chytilová continued to speak out against the communist regime and eventually went on to direct more movies (her last was released in 2006).\u003c/p>\n\u003cp>The first time I saw Chytilová's work was in a Czech Writing class I took in grad school. We watched \u003cem>Daisies\u003c/em>, her 1966 absurdist masterpiece that follows two young girls as they swing from chandeliers, stuff their faces full of cake, toy with hapless men, and promote anarchy and adventure wherever they go. So often in that class, people would space out or just straight up fall asleep during screenings, but I remember everyone being enraptured by \u003cem>Daisies\u003c/em>, its stunning visuals holding all of our eyeballs hostage.\u003c/p>\n\u003cp>And they still do, to some degree; visions will unexpectedly punctuate ordinary moments of my day. Ivana Karbanová setting fire to paper streamers, while I'm biking to work. Jitka Cerhová's decapitated head laughing and sticking out its tongue, while I'm eating lunch. This is the great, comforting assurance whenever a great person dies; their bodies are gone, but their fingerprints are everywhere.\u003c/p>\n\u003cp>Watch this epic food fight from \u003cem>Daisies\u003c/em> and start some trouble tonight in Chytilová's honor.\u003c/p>\n\u003cdiv class=\"single-video\">\n\u003cp>\u003ciframe src=\"//www.youtube.com/embed/zm9Gh8Fpy0c\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "When Racist Undertones Make Us Question Our Love of Classic Films",
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"content": "\u003cfigure id=\"attachment_11466\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=11466\" rel=\"attachment wp-att-11466\">\u003cimg class=\"size-full wp-image-11466\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/gone-with-the-wind.jpg\" alt=\"Photo: Metro-Goldwyn-Mayer\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/gone-with-the-wind.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/gone-with-the-wind-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Metro-Goldwyn-Mayer\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Jody Amable\u003c/strong>\u003c/p>\n\u003cp>Near the end of last year, I went to see \u003cem>The Wizard of Oz\u003c/em> at the Castro Theater. I’m a known \u003cem>Oz\u003c/em> fan to a somewhat unhealthy degree (ask me about my tattoo sometime). As I settled into my uneven seat, I started thinking about what a great choice I had made for a favorite movie back when I was seven years old. \"Wow, this movie has really stood the test of time in every way. I still love it; kids still love it. And best of all, it is free of the racism and sexism that so often pops up in old movies.\"\u003c/p>\n\u003cp>Then, about an hour into the movie, the Lion growled, \"What makes the Hottentot so hot?\"\u003c/p>\n\u003cp>I winced. I mean, it certainly could have been worse – \"hottentot\" is an outdated term for the native people of Southern Africa that some today consider a little iffy, and the only reason I know what it means is because I stumbled on its page on a traverse across Wikipedia one day -- but it swiftly destroyed any pride I had been feeling just an hour earlier.\u003c/p>\n\u003cp>This wasn’t the first time I’d squirmed my way through a classic film. Not long before, I had been at the very same theater to see a matinee of \u003cem>Casablanca, \u003c/em>where I kept getting hung up on the character of Sam. Sam of “Play it again, Sam” fame; so sweet, so friendly, so eager to please, so…steeped in stereotype.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once I noticed it, I couldn’t stop. After enduring years of people gasping at me when I told them the number of Mel Brooks movies I haven’t seen, I borrowed a DVD of \u003cem>Blazing Saddles\u003c/em>. While the movie still holds up, “The French Mistake” gave me some serious pause.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/JMK6lzmSk2o\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>At the apex of a film that, even today, does a phenomenal job of breaking down racist stereotypes (with some fart jokes thrown in for good measure), it suddenly takes time out to build up ones that have been wielded against gay men for ages. True, everyone gets skewered in \u003cem>Saddles\u003c/em>, but as this \u003ca href=\"http://flavorwire.com/437137/revisiting-mel-brooks-and-richard-pryors-subversively-brilliant-racial-satire-blazing-saddles-40-years-later/\">excellent Flavorwire piece\u003c/a> notes, “this is a scene of just pointing and laughing at a minority.”\u003c/p>\n\u003cp>Not long after I took in \u003cem>Oz\u003c/em>, Meryl Streep \u003ca href=\"http://www.vulture.com/2014/01/read-meryl-streeps-nbr-speech-in-its-entirety.html\">reopened some age-old debates\u003c/a> about Disney’s racist and sexist tendencies both on film and in the boardroom. Weeks later, an achievement award at the Golden Globes reignited the molestation accusations made against Woody Allen in the 1990s, and fans once again struggled to reconcile their love of his work with Allen’s alleged behavior.\u003c/p>\n\u003cp>Clearly, I’m not the only one who gets squeamish about these things. The thing is, these aren’t bad movies; they are some of the best films ever made, made by people with – for the most part – good intentions. But how do we, as fans, feel when iconic films start to turn a little sour?\u003c/p>\n\u003cp>I know little to nothing about film – I’m primarily a music writer – so I sought counsel from some people that do.\u003c/p>\n\u003cp>“People had a completely different sense of humor back in the day,” says Adam Bergeron, the owner and operator of the Balboa Theater and the Vogue Theater in San Francisco. He immediately brings up the example of \u003cem>Holiday Inn\u003c/em>, a classic that gave us “White Christmas,” but that also contains a prominent blackface scene. “Almost every year I forget.” Bergeron works with his theaters’ booker to schedule films, a combination of indie-minded first-runs and established classics. “There’s definitely been a few we’ve struggled with and decided not to show.”\u003c/p>\n\u003cp>Since film, like all good art, reflects the time and place of its production, there’s a long list of controversial content in American cinema. Really early films rely heavily on ugly stereotypes -- the obvious example is \u003cem>The Birth of a Nation\u003c/em>, which San Francisco Women’s Film Festival organizer Scarlett Shepard saw in film school. “I remember the first time I saw it. It was really hard to watch.” Though widely criticized for being one of the most racist American films ever produced, it remains required viewing for film students, noted as a shining example of now-widespread film-making techniques.\u003c/p>\n\u003cp>Casting actors of different ethnic backgrounds than the characters they’re playing – and, to get the point across to the audience, putting them in what’s essentially blackface – was pretty common practice back in the day. “[I just watched] \u003cem>The King & I\u003c/em>,” says Chris Huqueriza, a writer and editor specializing in LGBT issues and issues of race and color (full disclosure: we hang out on occasion). In the film, Rita Moreno plays an Asian woman, and Huqueriza admits to feeling conflicted about it. “It’s like in \u003cem>West Side Story\u003c/em> -- would it be better if [the actress playing Maria] was a Puerto Rican playing a Puerto Rican? It’d be great, but it’s the time period.” But there are cases where it goes way further than a fake tan. Beloved though it is, \u003cem>Breakfast at Tiffany’s\u003c/em> regularly comes under fire from activist groups for Mickey Rooney’s hot-headed, buck-toothed portrayal of a Japanese man.\u003c/p>\n\u003cp>We could be here all day listing classic films that hinge on the racist stereotypes that permeated American culture during the Golden Age of Hollywood. A classic example is \u003cem>Gone with the Wind\u003c/em>. Though it’s a regular chart-topper on round-ups of great American movies, and it really and truly did pave the way for minorities on screen (actress Hattie McDaniel was the first African-American to win an Oscar), its relevance in 2014 is often called into question for the story’s glorification of slavery. And though the jury’s still out on a lot of the claims Streep made against Disney, there’s no denying that the studio’s earlier offerings play up a parade of racist and anti-Semitic beliefs in place at the time.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/ZTchUep_bmg\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Rampant blackface and exploitation of nasty stereotypes is kind of par for the course for films made before 1950, but racist caricatures can still surprise audiences in films made as recently as the ‘80s, ‘90s, and the here and now. An example I used with everyone I spoke to was the coming-of-age classic, \u003cem>Sixteen Candles \u003c/em>(Bergeron’s reaction: “Oh, yeah.” Shepard’s reaction: “Oh, yeah.” Huqueriza’s reaction: “Oh, God,” followed by an eye roll).\u003cem> \u003c/em>While it’s still a sleepover staple for its depiction of the horrors and triumphs of adolescence, much of its comic relief comes in the form of a foreign exchange student, of unspecified Asian descent, who speaks in a forced accent and whose name, when spoken, is punctuated with a gong sound. Huqueriza also brings up 2009’s \u003cem>The\u003c/em> \u003cem>Princess and the Frog\u003c/em>. While Disney touted Tiana as its first African-American princess, some of the secondary characters are rooted in long-held African-American stereotypes. Once in frog form, Tiana seeks help from a voodoo priestess and is antagonized by a sly witch doctor. “[I had to ask myself], ‘Is this cultural or is it stereotypical?’”\u003c/p>\n\u003cp>When you step back, there’s a startling number of unquestionably great movies that still contain racist attitudes of yore that are hard to confront, and sometimes make it hard for a fan to decide if he or she should go on loving it. And that’s just racism; that doesn’t even take into account the backwards depictions of women that seem so crude in the age of \u003ca href=\"http://bechdeltest.com/\">The Bechdel Test\u003c/a>, or, as in the case of Woody Allen, Roman Polanski, and so many others, films that seem tainted after an actor or creator’s lurid personal life is exposed to the public (my beloved L. Frank Baum, for example, once published a scathing screed against Native Americans, and now my tattoo of the ruby slippers feels a little heavy). So is it time to blacklist these movies, or do we all just need to chill out?\u003c/p>\n\u003cp>Some DVDs of older cartoons and films have been outfitted with a disclaimer in recent years, but as sensitive as I seem to be getting to this kind of thing, even that strikes me as overkill. Huqueriza admits to holding films of a certain age to different standards than newer ones. “It’s always biased when you’re looking through the lens of our time,” he says. “I love Orson Welles' \u003cem>Touch of Evil\u003c/em> and \u003cem>The Lady From Shanghai\u003c/em>, and \u003cem>Breakfast at Tiffany's\u003c/em>, but [they all] had racist undertones. Many of my friends…give the ‘product of its time’ excuse, which I totally understand. I've had a few friends deeply upset on certain racist films and never watch it again.” It also has a lot to do with who you are and where you’re from, and the Bay Area makes its name on being a bastion of acceptance. “You don’t want to step out of bounds here, much more than other places in the country,” says Bergeron. “For better or for worse.”\u003c/p>\n\u003cp>Now, when I watch new movies, I have to wonder if any of my current favorites will get the \u003cem>Holiday Inn\u003c/em> treatment in 20 years’ time. “I think every film is going to be dated,” says Shepard. “I try to be self-aware about it. [If I encounter a character I find offensive, I think to myself] ‘OK, what don’t I like about this character?’, and that’s part of the larger dialogue of movies.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>How about you? How do you deal when good films go bad?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11466\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/?attachment_id=11466\" rel=\"attachment wp-att-11466\">\u003cimg class=\"size-full wp-image-11466\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/gone-with-the-wind.jpg\" alt=\"Photo: Metro-Goldwyn-Mayer\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/gone-with-the-wind.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/gone-with-the-wind-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Metro-Goldwyn-Mayer\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>By Jody Amable\u003c/strong>\u003c/p>\n\u003cp>Near the end of last year, I went to see \u003cem>The Wizard of Oz\u003c/em> at the Castro Theater. I’m a known \u003cem>Oz\u003c/em> fan to a somewhat unhealthy degree (ask me about my tattoo sometime). As I settled into my uneven seat, I started thinking about what a great choice I had made for a favorite movie back when I was seven years old. \"Wow, this movie has really stood the test of time in every way. I still love it; kids still love it. And best of all, it is free of the racism and sexism that so often pops up in old movies.\"\u003c/p>\n\u003cp>Then, about an hour into the movie, the Lion growled, \"What makes the Hottentot so hot?\"\u003c/p>\n\u003cp>I winced. I mean, it certainly could have been worse – \"hottentot\" is an outdated term for the native people of Southern Africa that some today consider a little iffy, and the only reason I know what it means is because I stumbled on its page on a traverse across Wikipedia one day -- but it swiftly destroyed any pride I had been feeling just an hour earlier.\u003c/p>\n\u003cp>This wasn’t the first time I’d squirmed my way through a classic film. Not long before, I had been at the very same theater to see a matinee of \u003cem>Casablanca, \u003c/em>where I kept getting hung up on the character of Sam. Sam of “Play it again, Sam” fame; so sweet, so friendly, so eager to please, so…steeped in stereotype.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once I noticed it, I couldn’t stop. After enduring years of people gasping at me when I told them the number of Mel Brooks movies I haven’t seen, I borrowed a DVD of \u003cem>Blazing Saddles\u003c/em>. While the movie still holds up, “The French Mistake” gave me some serious pause.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/JMK6lzmSk2o\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>At the apex of a film that, even today, does a phenomenal job of breaking down racist stereotypes (with some fart jokes thrown in for good measure), it suddenly takes time out to build up ones that have been wielded against gay men for ages. True, everyone gets skewered in \u003cem>Saddles\u003c/em>, but as this \u003ca href=\"http://flavorwire.com/437137/revisiting-mel-brooks-and-richard-pryors-subversively-brilliant-racial-satire-blazing-saddles-40-years-later/\">excellent Flavorwire piece\u003c/a> notes, “this is a scene of just pointing and laughing at a minority.”\u003c/p>\n\u003cp>Not long after I took in \u003cem>Oz\u003c/em>, Meryl Streep \u003ca href=\"http://www.vulture.com/2014/01/read-meryl-streeps-nbr-speech-in-its-entirety.html\">reopened some age-old debates\u003c/a> about Disney’s racist and sexist tendencies both on film and in the boardroom. Weeks later, an achievement award at the Golden Globes reignited the molestation accusations made against Woody Allen in the 1990s, and fans once again struggled to reconcile their love of his work with Allen’s alleged behavior.\u003c/p>\n\u003cp>Clearly, I’m not the only one who gets squeamish about these things. The thing is, these aren’t bad movies; they are some of the best films ever made, made by people with – for the most part – good intentions. But how do we, as fans, feel when iconic films start to turn a little sour?\u003c/p>\n\u003cp>I know little to nothing about film – I’m primarily a music writer – so I sought counsel from some people that do.\u003c/p>\n\u003cp>“People had a completely different sense of humor back in the day,” says Adam Bergeron, the owner and operator of the Balboa Theater and the Vogue Theater in San Francisco. He immediately brings up the example of \u003cem>Holiday Inn\u003c/em>, a classic that gave us “White Christmas,” but that also contains a prominent blackface scene. “Almost every year I forget.” Bergeron works with his theaters’ booker to schedule films, a combination of indie-minded first-runs and established classics. “There’s definitely been a few we’ve struggled with and decided not to show.”\u003c/p>\n\u003cp>Since film, like all good art, reflects the time and place of its production, there’s a long list of controversial content in American cinema. Really early films rely heavily on ugly stereotypes -- the obvious example is \u003cem>The Birth of a Nation\u003c/em>, which San Francisco Women’s Film Festival organizer Scarlett Shepard saw in film school. “I remember the first time I saw it. It was really hard to watch.” Though widely criticized for being one of the most racist American films ever produced, it remains required viewing for film students, noted as a shining example of now-widespread film-making techniques.\u003c/p>\n\u003cp>Casting actors of different ethnic backgrounds than the characters they’re playing – and, to get the point across to the audience, putting them in what’s essentially blackface – was pretty common practice back in the day. “[I just watched] \u003cem>The King & I\u003c/em>,” says Chris Huqueriza, a writer and editor specializing in LGBT issues and issues of race and color (full disclosure: we hang out on occasion). In the film, Rita Moreno plays an Asian woman, and Huqueriza admits to feeling conflicted about it. “It’s like in \u003cem>West Side Story\u003c/em> -- would it be better if [the actress playing Maria] was a Puerto Rican playing a Puerto Rican? It’d be great, but it’s the time period.” But there are cases where it goes way further than a fake tan. Beloved though it is, \u003cem>Breakfast at Tiffany’s\u003c/em> regularly comes under fire from activist groups for Mickey Rooney’s hot-headed, buck-toothed portrayal of a Japanese man.\u003c/p>\n\u003cp>We could be here all day listing classic films that hinge on the racist stereotypes that permeated American culture during the Golden Age of Hollywood. A classic example is \u003cem>Gone with the Wind\u003c/em>. Though it’s a regular chart-topper on round-ups of great American movies, and it really and truly did pave the way for minorities on screen (actress Hattie McDaniel was the first African-American to win an Oscar), its relevance in 2014 is often called into question for the story’s glorification of slavery. And though the jury’s still out on a lot of the claims Streep made against Disney, there’s no denying that the studio’s earlier offerings play up a parade of racist and anti-Semitic beliefs in place at the time.\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/ZTchUep_bmg\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Rampant blackface and exploitation of nasty stereotypes is kind of par for the course for films made before 1950, but racist caricatures can still surprise audiences in films made as recently as the ‘80s, ‘90s, and the here and now. An example I used with everyone I spoke to was the coming-of-age classic, \u003cem>Sixteen Candles \u003c/em>(Bergeron’s reaction: “Oh, yeah.” Shepard’s reaction: “Oh, yeah.” Huqueriza’s reaction: “Oh, God,” followed by an eye roll).\u003cem> \u003c/em>While it’s still a sleepover staple for its depiction of the horrors and triumphs of adolescence, much of its comic relief comes in the form of a foreign exchange student, of unspecified Asian descent, who speaks in a forced accent and whose name, when spoken, is punctuated with a gong sound. Huqueriza also brings up 2009’s \u003cem>The\u003c/em> \u003cem>Princess and the Frog\u003c/em>. While Disney touted Tiana as its first African-American princess, some of the secondary characters are rooted in long-held African-American stereotypes. Once in frog form, Tiana seeks help from a voodoo priestess and is antagonized by a sly witch doctor. “[I had to ask myself], ‘Is this cultural or is it stereotypical?’”\u003c/p>\n\u003cp>When you step back, there’s a startling number of unquestionably great movies that still contain racist attitudes of yore that are hard to confront, and sometimes make it hard for a fan to decide if he or she should go on loving it. And that’s just racism; that doesn’t even take into account the backwards depictions of women that seem so crude in the age of \u003ca href=\"http://bechdeltest.com/\">The Bechdel Test\u003c/a>, or, as in the case of Woody Allen, Roman Polanski, and so many others, films that seem tainted after an actor or creator’s lurid personal life is exposed to the public (my beloved L. Frank Baum, for example, once published a scathing screed against Native Americans, and now my tattoo of the ruby slippers feels a little heavy). So is it time to blacklist these movies, or do we all just need to chill out?\u003c/p>\n\u003cp>Some DVDs of older cartoons and films have been outfitted with a disclaimer in recent years, but as sensitive as I seem to be getting to this kind of thing, even that strikes me as overkill. Huqueriza admits to holding films of a certain age to different standards than newer ones. “It’s always biased when you’re looking through the lens of our time,” he says. “I love Orson Welles' \u003cem>Touch of Evil\u003c/em> and \u003cem>The Lady From Shanghai\u003c/em>, and \u003cem>Breakfast at Tiffany's\u003c/em>, but [they all] had racist undertones. Many of my friends…give the ‘product of its time’ excuse, which I totally understand. I've had a few friends deeply upset on certain racist films and never watch it again.” It also has a lot to do with who you are and where you’re from, and the Bay Area makes its name on being a bastion of acceptance. “You don’t want to step out of bounds here, much more than other places in the country,” says Bergeron. “For better or for worse.”\u003c/p>\n\u003cp>Now, when I watch new movies, I have to wonder if any of my current favorites will get the \u003cem>Holiday Inn\u003c/em> treatment in 20 years’ time. “I think every film is going to be dated,” says Shepard. “I try to be self-aware about it. [If I encounter a character I find offensive, I think to myself] ‘OK, what don’t I like about this character?’, and that’s part of the larger dialogue of movies.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How about you? How do you deal when good films go bad?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wes Anderson's New Hotel Proves Pretty Grand Indeed",
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"content": "\u003cp>Chances are you’ve already made up your mind about Wes Anderson. Either you’re willing to go with the meticulous symmetry of his dollhouse compositions, the precious tchotchke-filled design sensibility and the stilted formality of his dialogue, or you check out of his storybook worlds in the first five minutes. On the evidence of his eighth feature, \u003cem>The Grand Budapest Hotel\u003c/em>, it’s clear no one is more aware of his idiosyncracies than Anderson himself — and he’s not apologizing.\u003c/p>\n\u003cp>\u003cem>Grand Budapest\u003c/em> is a culmination of the tinkly music-box aesthetic of Anderson’s work to date, turned up to 11. If you’ve already tuned out, all the two dimensional tracking shots, whip-pans, color coordination and stop-motion animation is going to come crashing down on you like a truckload of playfully plinking harpsichords. But if you meet Anderson on his terms, you’ll reach the end and just want more.\u003c/p>\n\u003cp>The film’s structure is a justification of the distant remove from anything resembling reality, with Anderson nesting the primary narrative within a series of framing stories. The primary tale is a zany caper set in the fictional Eastern European republic of Zubrowka, involving murder, stolen art, a prison break and a mountainside toboggan chase. At the center is Gustave H. (Ralph Fiennes), concierge of the mountaintop resort of the title, and his lobby boy Zero Moustafa (Tony Revolori).\u003c/p>\n\u003cp>That plot unfolds in 1932, but it’s a story that, in the film, is related as an oral history in the ’60s, written as a book some years later, explained by the author in 1985, and finally, at the outermost level of this series of Russian nesting dolls, read in the present day by a young woman in a cemetery. If the film seems removed from reality, it’s no wonder: It’s being filtered through decades, multiple perspectives, artistic license and a heavy shroud of nostalgia.\u003c/p>\n\u003cp style=\"text-align: center\">[youtube http://www.youtube.com/watch?v=1Fg5iWmQjwk]\u003c/p>\n\u003cp>But then nostalgia has always weighed heavily on Anderson’s work, and in Gustave, he’s created a character even more attached to the past than he is. As the modern world creeps into Old Europe, the stately, exacting concierge constantly laments the lack of dignity and decorum of the advancing 20th century. This is a fact that, on the surface, seems at odds with his habit of sleeping with many of the hotel’s elderly female guests, but for Gustave, this is both part of his enduring attachment to the past as well as a function of his hospitality. “I sleep with all my friends,” he says matter-of-factly at one point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His ongoing relationship with one of those friends, Madame D (a delightfully eccentric Tilda Swinton), becomes problematic when she turns up dead and her will leaves him a priceless painting. Her heirs — a bickering bunch headed up by her son Dmitri (Adrien Brody) and thug-for-hire Jopling (Willem Dafoe) — are none too pleased, and frame Gustave for the crime.\u003c/p>\n\u003cp>Anderson is well aware that there’s great humor to be found in the mismatch between Gustave’s Old World gentility and his promiscuity — not to mention his frequent bursts of profanity. Fiennes, a new addition to Anderson’s usual stable of actors, proves perfectly suited to the director’s arid comic timing, and the result is, in terms of volume and effectiveness of jokes, far and away Anderson’s funniest film. He expertly mines the film’s contrasting inclinations, making violent and often shockingly bloody jokes. Like much of early-’30s Europe, Zubrowka is on the brink of a fascist takeover, and \u003cem>Grand Budapest\u003c/em> has some of the best Nazi-inspired humor since Mel Brooks’ “Springtime for Hitler.”\u003c/p>\n\u003cp>There’s so much going on here, a constant stream of jokes, plot contrivances, film references, and images overladen with gorgeous detail, that it might all collapse in on itself if not for the relationship between Gustave and his young protégé Zero. For those playing at home, this checks another box off on the Wes Anderson bingo card — his recurring theme of the bond between surrogate fathers and sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More important, it gives the movie a beating heart beneath layer upon layer of careful and distancing artifice. There’s much to admire on the surface of \u003cem>The Grand Budapest Hotel\u003c/em>, but as with all of Anderson’s best work, what lasts are the emotional notes it hits, almost invisibly. As Monsieur Gustave would surely agree, the mark of an expert lobby boy is to provide what the hotel’s guests need without their ever knowing he was there. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Anderson%27s+New+Hotel+Proves+Pretty+Grand+Indeed&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Wes Anderson's eighth film, set primarily in a 1930s hotel, is just as stylish, precise, and nostalgic as his past films — and far funnier. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chances are you’ve already made up your mind about Wes Anderson. Either you’re willing to go with the meticulous symmetry of his dollhouse compositions, the precious tchotchke-filled design sensibility and the stilted formality of his dialogue, or you check out of his storybook worlds in the first five minutes. On the evidence of his eighth feature, \u003cem>The Grand Budapest Hotel\u003c/em>, it’s clear no one is more aware of his idiosyncracies than Anderson himself — and he’s not apologizing.\u003c/p>\n\u003cp>\u003cem>Grand Budapest\u003c/em> is a culmination of the tinkly music-box aesthetic of Anderson’s work to date, turned up to 11. If you’ve already tuned out, all the two dimensional tracking shots, whip-pans, color coordination and stop-motion animation is going to come crashing down on you like a truckload of playfully plinking harpsichords. But if you meet Anderson on his terms, you’ll reach the end and just want more.\u003c/p>\n\u003cp>The film’s structure is a justification of the distant remove from anything resembling reality, with Anderson nesting the primary narrative within a series of framing stories. The primary tale is a zany caper set in the fictional Eastern European republic of Zubrowka, involving murder, stolen art, a prison break and a mountainside toboggan chase. At the center is Gustave H. (Ralph Fiennes), concierge of the mountaintop resort of the title, and his lobby boy Zero Moustafa (Tony Revolori).\u003c/p>\n\u003cp>That plot unfolds in 1932, but it’s a story that, in the film, is related as an oral history in the ’60s, written as a book some years later, explained by the author in 1985, and finally, at the outermost level of this series of Russian nesting dolls, read in the present day by a young woman in a cemetery. If the film seems removed from reality, it’s no wonder: It’s being filtered through decades, multiple perspectives, artistic license and a heavy shroud of nostalgia.\u003c/p>\n\u003cp style=\"text-align: center\">\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/1Fg5iWmQjwk'\n title='//www.youtube.com/embed/1Fg5iWmQjwk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But then nostalgia has always weighed heavily on Anderson’s work, and in Gustave, he’s created a character even more attached to the past than he is. As the modern world creeps into Old Europe, the stately, exacting concierge constantly laments the lack of dignity and decorum of the advancing 20th century. This is a fact that, on the surface, seems at odds with his habit of sleeping with many of the hotel’s elderly female guests, but for Gustave, this is both part of his enduring attachment to the past as well as a function of his hospitality. “I sleep with all my friends,” he says matter-of-factly at one point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His ongoing relationship with one of those friends, Madame D (a delightfully eccentric Tilda Swinton), becomes problematic when she turns up dead and her will leaves him a priceless painting. Her heirs — a bickering bunch headed up by her son Dmitri (Adrien Brody) and thug-for-hire Jopling (Willem Dafoe) — are none too pleased, and frame Gustave for the crime.\u003c/p>\n\u003cp>Anderson is well aware that there’s great humor to be found in the mismatch between Gustave’s Old World gentility and his promiscuity — not to mention his frequent bursts of profanity. Fiennes, a new addition to Anderson’s usual stable of actors, proves perfectly suited to the director’s arid comic timing, and the result is, in terms of volume and effectiveness of jokes, far and away Anderson’s funniest film. He expertly mines the film’s contrasting inclinations, making violent and often shockingly bloody jokes. Like much of early-’30s Europe, Zubrowka is on the brink of a fascist takeover, and \u003cem>Grand Budapest\u003c/em> has some of the best Nazi-inspired humor since Mel Brooks’ “Springtime for Hitler.”\u003c/p>\n\u003cp>There’s so much going on here, a constant stream of jokes, plot contrivances, film references, and images overladen with gorgeous detail, that it might all collapse in on itself if not for the relationship between Gustave and his young protégé Zero. For those playing at home, this checks another box off on the Wes Anderson bingo card — his recurring theme of the bond between surrogate fathers and sons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More important, it gives the movie a beating heart beneath layer upon layer of careful and distancing artifice. There’s much to admire on the surface of \u003cem>The Grand Budapest Hotel\u003c/em>, but as with all of Anderson’s best work, what lasts are the emotional notes it hits, almost invisibly. As Monsieur Gustave would surely agree, the mark of an expert lobby boy is to provide what the hotel’s guests need without their ever knowing he was there. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" alt=\"\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wes+Anderson%27s+New+Hotel+Proves+Pretty+Grand+Indeed&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_11369\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/04/first-legos-now-what-other-toys-that-deserve-their-own-movies/lego-movie/\" rel=\"attachment wp-att-11369\">\u003cimg class=\"size-full wp-image-11369\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/lego-movie.jpg\" alt=\"Photo: Warner Bros.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/lego-movie.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/lego-movie-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp>I would have loved to be a fly on the wall at the pitch meeting for \u003cem>The Lego Movie\u003c/em>. I imagine it went something like this:\u003c/p>\n\u003cp>\u003cem>Pitchee:\u003c/em> Remember Legos?\u003c/p>\n\u003cp>\u003cem>Big Important Executive:\u003c/em> Those little building block toys that hurt for days if you accidentally step on one your kid leaves embedded in the carpet?\u003c/p>\n\u003cp>\u003cem>Pitchee:\u003c/em> Those are the ones! Let's give them a feature film!\u003c/p>\n\u003cp>\u003cem>Big Important Executive:\u003c/em> Sold.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>$183,015,455 in box office later and you can be sure this is only the first in a series of films that tie Gen X and Millennial nostalgia to family-friendly entertainment. If there's one thing Hollywood is great at doing, it's sucking the life out of an idea until the last dollar has been exsanguinated from even the most original concept. Since more toy-inspired fun is inevitably on the way, we decided to pitch some of our favorite possibilities, from the totally plausible (\u003cem>Candy Land\u003c/em> starring any television actress in one of Katy Perry's old \"California Gurls\" costumes) to the abstract (Jon Hamm and Jennifer Lawrence questioning the social constructs of \u003cem>Ant Farm\u003c/em>) to the incredibly niche toy remembrances (\u003cem>Cherry Merry Muffins\u003c/em> directed by Lars Von Trier, obviously). Coming to a theater near you?\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Candy Land\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/l0IS-Vv6XKs\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>An action adventure rom/com starring any blond actress from a sitcom (I'm looking at you, Kaley Cuoco!) as Princess Lolly and a male SNL alum between the 2002-2012 casts as the treacherous Lord Licorice.\u003c/p>\n\u003cp>Princess Lolly is just a career girl trying to make it work in the Peppermint Forest, but her terrible co-worker Lord Licorice is always getting her down in the Cherry Pits. What happens when the two opposites get stranded in the Molasses Swamp after a business trip gone awry? Featuring a cameo appearance by Academy Award ™ Winner Jane Fonda as Gramma Nutt, a free spirited lady in a peanut brittle house who tells the pair to \"go for it!\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jem and the Holograms\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/S0KO8LnTaLk\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>A behind-the-music look at the price of rock 'n' roll superstardom and living double lives with Miley Cyrus revisiting her \u003cem>Hannah Montana\u003c/em> duality in the title role of Jem/Jerrica and Rose McGowan as her hologram mentor Synergy.\u003c/p>\n\u003cp>Jerrica Benton is on the verge of a breakdown: how much longer can she juggle her lives as a record company heiress/music executive and the pink-haired rock star Jem? A gritty, documentary feel pervades this film as Jerrica slowly is consumed by the Jem persona and spirals into an out-of-control meltdown only her hologram mentor Synergy (Rose McGowan, perfectly cast as a computer generated being) can cure her of. Comes with a cassette tape of Jem's dance remix of Amy Winehouse's \"Rehab.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Stretch Armstrong\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/0lw17Pb7Nso\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>A working father (Leonardo DiCaprio) tries to have it all: career, kids, wife, but finds he can only extend himself so far in this modern day retelling of the O. Henry short story.\u003c/p>\n\u003cp>\"I don't know how he does it!\" everyone around Stanley Armstrong exclaims, when they watch the way he \"stretches\" himself to accommodate family life, a successful career in the elastic business and romance. Like the toy that inspired the film, Stanley learns he can only be stretched to a point before he's a permanently distended freak. Anthony Lane of the \u003cem>New Yorker\u003c/em> will say it's \"definitely a movie\" and that \"all the actors spoke very clearly.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Creepy Crawlers\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/8LIimXqLsqU\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>An inside look at small town politics directed by Joel and Ethan Coen.\u003c/p>\n\u003cp>The candidates for town council in the sleepy hamlet of Debeaux, Alaska will stop at nothing to get a chance to influence traffic ordinances in this in-depth examination of the dangers of keeping secrets. In a bid to win the prize, one candidate (Amy Adams in a Palin updo) hires James Crawlers (a.k.a. \"Creepy\", played by John Goodman) to get the dirt on her fellow contenders in this action packed race to the finish. Johnny Depp allegedly based his performance of \"Bright Green Scorpion\" on the late American writer Norman Mailer, who he spent several months with prior to the film.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Play-Doh\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/O_4r2LiJkSg\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>What happens when an uptight plastic surgeon (Michael Cera) and a carefree bohemian (Kathy Bates) inherit an Italian restaurant from their grandpa? Hilarity, that's what!\u003c/p>\n\u003cp>\"What are we going to feed all these people?\" Dr. Michael Cera (let's call it what it is: Cera usually just plays variations on his persona film to film) asks his free-spirited cousin, Starflower (Bates with her \"American Horror Story: Coven\" hairdo still intact). The answer may surprise you. As Play-Doh cuisine sweeps foodies off their feet, the pair learn a valuable lesson about the power of friendship and utter the catchphrase \"Mamma Mia! Atsa my a meatball!\" thirty-seven times in this 95 minute indie gem from the team that brought you \u003cem>Magnolia\u003c/em> and \u003cem>Liar, Liar\u003c/em>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>He-Man\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/420qeZHpO7w\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>A bad real estate deal over Castle Grayskull leaves childhood buddies He-Man (Andy Samberg's head superimposed over any Calvin Klein model from 1993) and Skeletor (Jonah Hill) at odds in this home improvement comedy.\u003c/p>\n\u003cp>\"By the power of Grayskull, I AM HE-MAN!\" Our titular character exclaims, tearing down dry rot with the sword of power. Pals He-Man and Skeletor have sunk every dime they have into restoring the old fortress and turning it into a boutique hotel, but when a real estate developer wants to buy the property for six times what the pair paid to build luxury apartments, Skeletor is hot to sell while He-Man wants to save the architectural gem. A battle of fraternity-style pranks ensues between the frenemies unlike any seen since their days at Eternia State. Featuring a cameo appearance by Academy Award ™ Winner Jane Fonda as the all-knowing Sorceress who tells the pair to \"go for it!\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Ant Farm\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/zjKEoSOoShk\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Jon Hamm and Jennifer Lawrence question everything, while carrying triple their body mass in this Oscar bait due next Christmas.\u003c/p>\n\u003cp>Tired of carrying grains of dirt and building tunnels all day, two ants sit in mute protest of the unfair conditions in their plantation-style work place. Instead of causing a riot, they cause a revolution. A heartbreaking story about overcoming adversity, bi-polar acceptance and missed chances, \u003cem>Ant Farm\u003c/em> is David O. Russell's bravest work yet, where the actors are so vulnerable their skeletons are actually exposed.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Nerf\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/HlnCttr5kEM\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Think fast! Johnny Knoxville and the gang bring you \u003cem>Nerf\u003c/em> in 3-D!\u003c/p>\n\u003cp>Tired of getting pummeled, beaten, stung, burned, shocked and all other manner of tortured for your entertainment, Johnny Knoxville and the guys from \u003cem>Jackass\u003c/em> have instead opted for self preservation in their new film, \u003cem>Nerf\u003c/em>. Is it as funny? Not really. Are you relieved no one is endangering their lives? Absolutely.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>She-Ra\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/6TvOexRT8E4\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Tina Fey is He-Man's lovable yet clumsy sister, She-Ra, who is obsessed with bad food choices and is secretly kind of sexy when she takes her glasses off.\u003c/p>\n\u003cp>Think a woman can't be a superhero? She-Ra is here to prove you wrong, media! Watch as Tina Fey fights evil, leads the rebellion and battles her cravings for artificial off-brand cheese snacks. Instead of just defeating her enemies, she gives them long lectures on cultural depictions of women that leave everyone changed. Alec Baldwin plays She-Ra's friend/will-they-or-won't-they love interest Bo and Jack McBrayer provides the voice of the Princess of Power's horse Spirit/Swift Wind.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Cherry Merry Muffins\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/36Vuf9DyM5A\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>From the unforgivingly avant-garde mind of Lars von Trier comes the long awaited adaptation of the delicious smelling dolls.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Cherry Merry Muffin (Nicole Kidman, with a small mustache) is isolated from the world in her cottage (just a bare stage with tape outlines) where she contemplates what it means to be American. When friends Betty Berry (Patricia Clarkson) and Choc O. Latti (Diane Keaton) come for a visit to bake muffins and speak in symbolism, they discover the world is ending, but not before Bjork performs a musical number only in her mind. Featuring a cameo appearance by Academy Award ™ Winner Jane Fonda as a liberated Easy Bake Oven who tells Cherry Merry to \"go for it!\"\u003c/p>\n\n",
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"excerpt": "More toy inspired fun is inevitably on the way, so we decided to pitch some of our favorite possibilities, from Tina Fey as He-Man's lovable yet clumsy sister She-Ra to Jennifer Lawrence questioning the social constructs of Ant Farm.",
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"description": "More toy inspired fun is inevitably on the way, so we decided to pitch some of our favorite possibilities, from Tina Fey as He-Man's lovable yet clumsy sister She-Ra to Jennifer Lawrence questioning the social constructs of Ant Farm.",
"title": "First Legos, Now What? Other Toys That Deserve Their Own Movies | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_11369\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/04/first-legos-now-what-other-toys-that-deserve-their-own-movies/lego-movie/\" rel=\"attachment wp-att-11369\">\u003cimg class=\"size-full wp-image-11369\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/02/lego-movie.jpg\" alt=\"Photo: Warner Bros.\" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/02/lego-movie.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/02/lego-movie-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Warner Bros.\u003c/figcaption>\u003c/figure>\n\u003cp>I would have loved to be a fly on the wall at the pitch meeting for \u003cem>The Lego Movie\u003c/em>. I imagine it went something like this:\u003c/p>\n\u003cp>\u003cem>Pitchee:\u003c/em> Remember Legos?\u003c/p>\n\u003cp>\u003cem>Big Important Executive:\u003c/em> Those little building block toys that hurt for days if you accidentally step on one your kid leaves embedded in the carpet?\u003c/p>\n\u003cp>\u003cem>Pitchee:\u003c/em> Those are the ones! Let's give them a feature film!\u003c/p>\n\u003cp>\u003cem>Big Important Executive:\u003c/em> Sold.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>$183,015,455 in box office later and you can be sure this is only the first in a series of films that tie Gen X and Millennial nostalgia to family-friendly entertainment. If there's one thing Hollywood is great at doing, it's sucking the life out of an idea until the last dollar has been exsanguinated from even the most original concept. Since more toy-inspired fun is inevitably on the way, we decided to pitch some of our favorite possibilities, from the totally plausible (\u003cem>Candy Land\u003c/em> starring any television actress in one of Katy Perry's old \"California Gurls\" costumes) to the abstract (Jon Hamm and Jennifer Lawrence questioning the social constructs of \u003cem>Ant Farm\u003c/em>) to the incredibly niche toy remembrances (\u003cem>Cherry Merry Muffins\u003c/em> directed by Lars Von Trier, obviously). Coming to a theater near you?\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Candy Land\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/l0IS-Vv6XKs\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>An action adventure rom/com starring any blond actress from a sitcom (I'm looking at you, Kaley Cuoco!) as Princess Lolly and a male SNL alum between the 2002-2012 casts as the treacherous Lord Licorice.\u003c/p>\n\u003cp>Princess Lolly is just a career girl trying to make it work in the Peppermint Forest, but her terrible co-worker Lord Licorice is always getting her down in the Cherry Pits. What happens when the two opposites get stranded in the Molasses Swamp after a business trip gone awry? Featuring a cameo appearance by Academy Award ™ Winner Jane Fonda as Gramma Nutt, a free spirited lady in a peanut brittle house who tells the pair to \"go for it!\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Jem and the Holograms\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/S0KO8LnTaLk\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>A behind-the-music look at the price of rock 'n' roll superstardom and living double lives with Miley Cyrus revisiting her \u003cem>Hannah Montana\u003c/em> duality in the title role of Jem/Jerrica and Rose McGowan as her hologram mentor Synergy.\u003c/p>\n\u003cp>Jerrica Benton is on the verge of a breakdown: how much longer can she juggle her lives as a record company heiress/music executive and the pink-haired rock star Jem? A gritty, documentary feel pervades this film as Jerrica slowly is consumed by the Jem persona and spirals into an out-of-control meltdown only her hologram mentor Synergy (Rose McGowan, perfectly cast as a computer generated being) can cure her of. Comes with a cassette tape of Jem's dance remix of Amy Winehouse's \"Rehab.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Stretch Armstrong\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/0lw17Pb7Nso\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>A working father (Leonardo DiCaprio) tries to have it all: career, kids, wife, but finds he can only extend himself so far in this modern day retelling of the O. Henry short story.\u003c/p>\n\u003cp>\"I don't know how he does it!\" everyone around Stanley Armstrong exclaims, when they watch the way he \"stretches\" himself to accommodate family life, a successful career in the elastic business and romance. Like the toy that inspired the film, Stanley learns he can only be stretched to a point before he's a permanently distended freak. Anthony Lane of the \u003cem>New Yorker\u003c/em> will say it's \"definitely a movie\" and that \"all the actors spoke very clearly.\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Creepy Crawlers\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/8LIimXqLsqU\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>An inside look at small town politics directed by Joel and Ethan Coen.\u003c/p>\n\u003cp>The candidates for town council in the sleepy hamlet of Debeaux, Alaska will stop at nothing to get a chance to influence traffic ordinances in this in-depth examination of the dangers of keeping secrets. In a bid to win the prize, one candidate (Amy Adams in a Palin updo) hires James Crawlers (a.k.a. \"Creepy\", played by John Goodman) to get the dirt on her fellow contenders in this action packed race to the finish. Johnny Depp allegedly based his performance of \"Bright Green Scorpion\" on the late American writer Norman Mailer, who he spent several months with prior to the film.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Play-Doh\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/O_4r2LiJkSg\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>What happens when an uptight plastic surgeon (Michael Cera) and a carefree bohemian (Kathy Bates) inherit an Italian restaurant from their grandpa? Hilarity, that's what!\u003c/p>\n\u003cp>\"What are we going to feed all these people?\" Dr. Michael Cera (let's call it what it is: Cera usually just plays variations on his persona film to film) asks his free-spirited cousin, Starflower (Bates with her \"American Horror Story: Coven\" hairdo still intact). The answer may surprise you. As Play-Doh cuisine sweeps foodies off their feet, the pair learn a valuable lesson about the power of friendship and utter the catchphrase \"Mamma Mia! Atsa my a meatball!\" thirty-seven times in this 95 minute indie gem from the team that brought you \u003cem>Magnolia\u003c/em> and \u003cem>Liar, Liar\u003c/em>.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>He-Man\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/420qeZHpO7w\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>A bad real estate deal over Castle Grayskull leaves childhood buddies He-Man (Andy Samberg's head superimposed over any Calvin Klein model from 1993) and Skeletor (Jonah Hill) at odds in this home improvement comedy.\u003c/p>\n\u003cp>\"By the power of Grayskull, I AM HE-MAN!\" Our titular character exclaims, tearing down dry rot with the sword of power. Pals He-Man and Skeletor have sunk every dime they have into restoring the old fortress and turning it into a boutique hotel, but when a real estate developer wants to buy the property for six times what the pair paid to build luxury apartments, Skeletor is hot to sell while He-Man wants to save the architectural gem. A battle of fraternity-style pranks ensues between the frenemies unlike any seen since their days at Eternia State. Featuring a cameo appearance by Academy Award ™ Winner Jane Fonda as the all-knowing Sorceress who tells the pair to \"go for it!\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Ant Farm\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/zjKEoSOoShk\" frameborder=\"0\" width=\"560\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Jon Hamm and Jennifer Lawrence question everything, while carrying triple their body mass in this Oscar bait due next Christmas.\u003c/p>\n\u003cp>Tired of carrying grains of dirt and building tunnels all day, two ants sit in mute protest of the unfair conditions in their plantation-style work place. Instead of causing a riot, they cause a revolution. A heartbreaking story about overcoming adversity, bi-polar acceptance and missed chances, \u003cem>Ant Farm\u003c/em> is David O. Russell's bravest work yet, where the actors are so vulnerable their skeletons are actually exposed.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Nerf\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/HlnCttr5kEM\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Think fast! Johnny Knoxville and the gang bring you \u003cem>Nerf\u003c/em> in 3-D!\u003c/p>\n\u003cp>Tired of getting pummeled, beaten, stung, burned, shocked and all other manner of tortured for your entertainment, Johnny Knoxville and the guys from \u003cem>Jackass\u003c/em> have instead opted for self preservation in their new film, \u003cem>Nerf\u003c/em>. Is it as funny? Not really. Are you relieved no one is endangering their lives? Absolutely.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>She-Ra\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/6TvOexRT8E4\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>Tina Fey is He-Man's lovable yet clumsy sister, She-Ra, who is obsessed with bad food choices and is secretly kind of sexy when she takes her glasses off.\u003c/p>\n\u003cp>Think a woman can't be a superhero? She-Ra is here to prove you wrong, media! Watch as Tina Fey fights evil, leads the rebellion and battles her cravings for artificial off-brand cheese snacks. Instead of just defeating her enemies, she gives them long lectures on cultural depictions of women that leave everyone changed. Alec Baldwin plays She-Ra's friend/will-they-or-won't-they love interest Bo and Jack McBrayer provides the voice of the Princess of Power's horse Spirit/Swift Wind.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>Cherry Merry Muffins\u003c/strong>\u003c/p>\n\u003cdiv class=\"single-video\">\u003ciframe src=\"//www.youtube.com/embed/36Vuf9DyM5A\" frameborder=\"0\" width=\"420\" height=\"315\">\u003c/iframe>\u003c/div>\n\u003cp>From the unforgivingly avant-garde mind of Lars von Trier comes the long awaited adaptation of the delicious smelling dolls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cherry Merry Muffin (Nicole Kidman, with a small mustache) is isolated from the world in her cottage (just a bare stage with tape outlines) where she contemplates what it means to be American. When friends Betty Berry (Patricia Clarkson) and Choc O. Latti (Diane Keaton) come for a visit to bake muffins and speak in symbolism, they discover the world is ending, but not before Bjork performs a musical number only in her mind. Featuring a cameo appearance by Academy Award ™ Winner Jane Fonda as a liberated Easy Bake Oven who tells Cherry Merry to \"go for it!\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Only Oscar Moments Worth Talking About (2014 Edition)",
"title": "The Only Oscar Moments Worth Talking About (2014 Edition)",
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"content": "\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/25/the-only-oscar-moments-worth-talking-about/meryl-christ/\" rel=\"attachment wp-att-1819\">\u003cimg class=\"size-full wp-image-1819 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/meryl-christ.jpg\" alt=\"Meryl Christ\" width=\"500\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/meryl-christ.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/meryl-christ-400x300.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The definition of insanity is doing the same thing over and over and expecting different results. So I guess that means I'm kind of nuts because, every year, I think the Oscars won't be super duper boring and they always are, except for those brief rays of light that keep us coming back for more. Here's a rundown of the only moments worth talking about:\u003c/p>\n\u003cp>1. I know you're wondering what your best-friend-in-your-head got up to last night, so let's get right to that. Jennifer Lawrence \u003ca href=\"http://25.media.tumblr.com/af1da2cae5c1ad1d0e1375fabcab82db/tumblr_n1viyj2zBA1s38po7o1_500.jpg\">didn't win\u003c/a> for her portrayal of a nail-polish-obsessed arsonist housewife, but she did manage to win hearts by falling (again!). This time, her tumble almost took out some innocent woman. Never change, J. La.\u003c/p>\n\u003cfigure id=\"attachment_11347\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vh090uck1svt3k3o1_500/\" rel=\"attachment wp-att-11347\">\u003cimg class=\"size-full wp-image-11347\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vh090UCK1svt3k3o1_500.gif\" alt=\"tumblr_n1vh090UCK1svt3k3o1_500\" width=\"450\" height=\"270\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://merveiyeux.tumblr.com/post/78456350766/jennifer-lawrence-showing-off-her-amazing-sense\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>2. In case you care about who actually won awards, Buster Bluth sums it up pretty well:\u003c/p>\n\u003cfigure id=\"attachment_11346\" class=\"wp-caption aligncenter\" style=\"max-width: 245px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_inline_n1vf5xbnrm1ra3vpd/\" rel=\"attachment wp-att-11346\">\u003cimg class=\"size-full wp-image-11346\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd.gif\" alt=\"tumblr_inline_n1vf5xbNrM1ra3vpd\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://thebluths.tumblr.com/post/78453207566/a-short-summary-of-the-oscar-winners\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>3. Pharrell has had a great year. His Daft Punk feature that terrorized our ears for what seemed like a full year, his Looney Tunes inspired hat at the Grammys, being nominated for an Oscar for his feel-good \"Happy,\" and, most importantly, inspiring Meryl Streep, Lupita Nyong'o, and Amy Adams to bust a move.\u003c/p>\n\u003cfigure id=\"attachment_11350\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vgs0h53b1qarjjvo2_400/\" rel=\"attachment wp-att-11350\">\u003cimg class=\"size-large wp-image-11350\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vgs0H53b1qarjjvo2_400.gif\" alt=\"tumblr_n1vgs0H53b1qarjjvo2_400\" width=\"350\" height=\"197\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://today.tumblr.com/post/78455749967/icymi-this-happened\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11349\" class=\"wp-caption aligncenter\" style=\"max-width: 380px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vgs0h53b1qarjjvo1_400/\" rel=\"attachment wp-att-11349\">\u003cimg class=\"size-large wp-image-11349\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vgs0H53b1qarjjvo1_400.gif\" alt=\"tumblr_n1vgs0H53b1qarjjvo1_400\" width=\"380\" height=\"214\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://today.tumblr.com/post/78455749967/icymi-this-happened\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11351\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vgs0h53b1qarjjvo3_r1_400/\" rel=\"attachment wp-att-11351\">\u003cimg class=\"size-full wp-image-11351\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vgs0H53b1qarjjvo3_r1_400.gif\" alt=\"tumblr_n1vgs0H53b1qarjjvo3_r1_400\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://today.tumblr.com/post/78455749967/icymi-this-happened\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>4. Some of the best award show moments are born out of someone acting inappropriately and not following the script. Instead of thanking XY and Z and going on her way, Darlene Love, one of the stars of \u003cem>20 Feet from Stardom\u003c/em>, decided to just bust out in song...and it was not brief. (Notice how \u003cem>into it\u003c/em> Bill Murray is.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sPYyCRqUOVk\u003c/p>\n\u003cp>5. If I could give an acceptance speech, I would thank Kerry Washington for representing 98% of America with her unapologetic passion for pizza.\u003c/p>\n\u003cfigure id=\"attachment_11356\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ucxzjubw1qln00mo1_400/\" rel=\"attachment wp-att-11356\">\u003cimg class=\"size-full wp-image-11356 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ucxzJUbw1qln00mo1_400.gif\" alt=\"tumblr_n1ucxzJUbw1qln00mo1_400\" width=\"400\" height=\"298\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://vh1.tumblr.com/post/78399043165/same-kerry\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>6. John Travolta had one job. Walk to your mark, read three sentences, then \u003ca href=\"http://25.media.tumblr.com/88eaa93a0a497e2d1c3a971d8e7cb79f/tumblr_n1vll4maqS1sqkiobo1_400.jpg\">go back to eating pizza in the audience\u003c/a>. Instead, he decided to be generally creepy for a while and then spice things up by introducing Idina Menzel by the name of \u003ca href=\"http://vanityflair.tumblr.com/image/78456987981\">Adele Dazeem\u003c/a>. A plea for Adele to release more music? An audition for a dyslexia PSA? You decide.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rECG1Wlb-lA\u003c/p>\n\u003cp>7. Ellen broke Twitter and beat the Obamas' record for most retweets with this star-studded selfie. What you didn't see is Liza Minnelli desperately trying to claw her way into the frame.\u003c/p>\n\u003cfigure id=\"attachment_11352\" class=\"wp-caption aligncenter\" style=\"max-width: 452px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/liza_2840091a/\" rel=\"attachment wp-att-11352\">\u003cimg class=\"size-full wp-image-11352\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/liza_2840091a.jpg\" alt=\"liza_2840091a\" width=\"452\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/liza_2840091a.jpg 452w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/liza_2840091a-400x488.jpg 400w\" sizes=\"(max-width: 452px) 100vw, 452px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.telegraph.co.uk/culture/film/oscars/10672112/Oscars-2014-the-best-celebrity-selfies-on-Instagram.html\">Telegraph\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>8. Speaking of Liza and selfies, she knows her angles! And let's not even get into her inspired Manic Panic bangs or we'll be here all night.\u003c/p>\n\u003cfigure id=\"attachment_11353\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ubwdnjy51qlvwnco1_500/\" rel=\"attachment wp-att-11353\">\u003cimg class=\"size-full wp-image-11353\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ubwdnJy51qlvwnco1_500.gif\" alt=\"Photo: Tumblr\" width=\"500\" height=\"265\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://logotv.tumblr.com/post/78396370044/we-are-jealous\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>9. Ellen as Glinda could be this Halloween's Miley with foam finger!\u003c/p>\n\u003cfigure id=\"attachment_11357\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ue7672tj1qlvwnco1_500/\" rel=\"attachment wp-att-11357\">\u003cimg class=\"size-full wp-image-11357\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ue7672TJ1qlvwnco1_500.gif\" alt=\"Photo: Tumblr\" width=\"500\" height=\"265\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://logotv.tumblr.com/post/78402114530/is-ellen-telling-hollywood-to-come-out-come-out\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>10. The Oscar for Keeping It Real goes to Lupita Nyong'o!\u003c/p>\n\u003cfigure id=\"attachment_11358\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ue30yv6x1qln00mo1_400/\" rel=\"attachment wp-att-11358\">\u003cimg class=\"size-full wp-image-11358\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ue30Yv6x1qln00mo1_400.gif\" alt=\"Photo: Tumblr\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"logotv.tumblr.com/post/78402684793/vh1-you-did-it-girl\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>11. And just in case you're keeping track:\u003c/p>\n\u003cfigure id=\"attachment_11354\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vhytquwy1r7w5w0o1_500/\" rel=\"attachment wp-att-11354\">\u003cimg class=\"size-full wp-image-11354\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vhytQuWY1r7w5w0o1_500.jpg\" alt=\"Photo: Tumblr\" width=\"500\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_n1vhytQuWY1r7w5w0o1_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_n1vhytQuWY1r7w5w0o1_500-400x448.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://don-t-judge-a-blog-by-its-url.tumblr.com/post/78457887638\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11359\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/oscar-leo-5/\" rel=\"attachment wp-att-11359\">\u003cimg class=\"size-full wp-image-11359\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/oscar-leo-5.gif\" alt=\"Photo: Cookies and Sangria\" width=\"350\" height=\"199\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://cookiesandsangria.com/2013/11/12/leonardo-dicaprio-the-internet-and-you/comment-page-1/\">Cookies and Sangria\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11360\" class=\"wp-caption aligncenter\" style=\"max-width: 315px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/oscar-leo-4/\" rel=\"attachment wp-att-11360\">\u003cimg class=\"size-large wp-image-11360\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/oscar-leo-4.jpg\" alt=\"oscar-leo-4\" width=\"315\" height=\"247\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://cookiesandsangria.com/2013/11/12/leonardo-dicaprio-the-internet-and-you/comment-page-1/\">Cookies and Sangria\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11355\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_lt8876lgc21qmpnt6/\" rel=\"attachment wp-att-11355\">\u003cimg class=\"size-full wp-image-11355\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_lt8876lGC21qmpnt6.gif\" alt=\"Photo: Tumblr\" width=\"500\" height=\"220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://kyukyuuu.tumblr.com/post/11968697689/i-feel-like-the-gretchen-weiners-of-tumblr\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\n\u003c/p>\n",
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"excerpt": "More than three boring hours boiled down to the best 10 moments.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://blogs.kqed.org/pop/2013/02/25/the-only-oscar-moments-worth-talking-about/meryl-christ/\" rel=\"attachment wp-att-1819\">\u003cimg class=\"size-full wp-image-1819 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/02/meryl-christ.jpg\" alt=\"Meryl Christ\" width=\"500\" height=\"375\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2013/02/meryl-christ.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2013/02/meryl-christ-400x300.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The definition of insanity is doing the same thing over and over and expecting different results. So I guess that means I'm kind of nuts because, every year, I think the Oscars won't be super duper boring and they always are, except for those brief rays of light that keep us coming back for more. Here's a rundown of the only moments worth talking about:\u003c/p>\n\u003cp>1. I know you're wondering what your best-friend-in-your-head got up to last night, so let's get right to that. Jennifer Lawrence \u003ca href=\"http://25.media.tumblr.com/af1da2cae5c1ad1d0e1375fabcab82db/tumblr_n1viyj2zBA1s38po7o1_500.jpg\">didn't win\u003c/a> for her portrayal of a nail-polish-obsessed arsonist housewife, but she did manage to win hearts by falling (again!). This time, her tumble almost took out some innocent woman. Never change, J. La.\u003c/p>\n\u003cfigure id=\"attachment_11347\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vh090uck1svt3k3o1_500/\" rel=\"attachment wp-att-11347\">\u003cimg class=\"size-full wp-image-11347\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vh090UCK1svt3k3o1_500.gif\" alt=\"tumblr_n1vh090UCK1svt3k3o1_500\" width=\"450\" height=\"270\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://merveiyeux.tumblr.com/post/78456350766/jennifer-lawrence-showing-off-her-amazing-sense\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>2. In case you care about who actually won awards, Buster Bluth sums it up pretty well:\u003c/p>\n\u003cfigure id=\"attachment_11346\" class=\"wp-caption aligncenter\" style=\"max-width: 245px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_inline_n1vf5xbnrm1ra3vpd/\" rel=\"attachment wp-att-11346\">\u003cimg class=\"size-full wp-image-11346\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd.gif\" alt=\"tumblr_inline_n1vf5xbNrM1ra3vpd\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_inline_n1vf5xbNrM1ra3vpd-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://thebluths.tumblr.com/post/78453207566/a-short-summary-of-the-oscar-winners\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>3. Pharrell has had a great year. His Daft Punk feature that terrorized our ears for what seemed like a full year, his Looney Tunes inspired hat at the Grammys, being nominated for an Oscar for his feel-good \"Happy,\" and, most importantly, inspiring Meryl Streep, Lupita Nyong'o, and Amy Adams to bust a move.\u003c/p>\n\u003cfigure id=\"attachment_11350\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vgs0h53b1qarjjvo2_400/\" rel=\"attachment wp-att-11350\">\u003cimg class=\"size-large wp-image-11350\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vgs0H53b1qarjjvo2_400.gif\" alt=\"tumblr_n1vgs0H53b1qarjjvo2_400\" width=\"350\" height=\"197\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://today.tumblr.com/post/78455749967/icymi-this-happened\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11349\" class=\"wp-caption aligncenter\" style=\"max-width: 380px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vgs0h53b1qarjjvo1_400/\" rel=\"attachment wp-att-11349\">\u003cimg class=\"size-large wp-image-11349\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vgs0H53b1qarjjvo1_400.gif\" alt=\"tumblr_n1vgs0H53b1qarjjvo1_400\" width=\"380\" height=\"214\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://today.tumblr.com/post/78455749967/icymi-this-happened\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11351\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vgs0h53b1qarjjvo3_r1_400/\" rel=\"attachment wp-att-11351\">\u003cimg class=\"size-full wp-image-11351\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vgs0H53b1qarjjvo3_r1_400.gif\" alt=\"tumblr_n1vgs0H53b1qarjjvo3_r1_400\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://today.tumblr.com/post/78455749967/icymi-this-happened\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>4. Some of the best award show moments are born out of someone acting inappropriately and not following the script. Instead of thanking XY and Z and going on her way, Darlene Love, one of the stars of \u003cem>20 Feet from Stardom\u003c/em>, decided to just bust out in song...and it was not brief. (Notice how \u003cem>into it\u003c/em> Bill Murray is.)\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/sPYyCRqUOVk'\n title='//www.youtube.com/embed/sPYyCRqUOVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5. If I could give an acceptance speech, I would thank Kerry Washington for representing 98% of America with her unapologetic passion for pizza.\u003c/p>\n\u003cfigure id=\"attachment_11356\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ucxzjubw1qln00mo1_400/\" rel=\"attachment wp-att-11356\">\u003cimg class=\"size-full wp-image-11356 \" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ucxzJUbw1qln00mo1_400.gif\" alt=\"tumblr_n1ucxzJUbw1qln00mo1_400\" width=\"400\" height=\"298\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://vh1.tumblr.com/post/78399043165/same-kerry\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>6. John Travolta had one job. Walk to your mark, read three sentences, then \u003ca href=\"http://25.media.tumblr.com/88eaa93a0a497e2d1c3a971d8e7cb79f/tumblr_n1vll4maqS1sqkiobo1_400.jpg\">go back to eating pizza in the audience\u003c/a>. Instead, he decided to be generally creepy for a while and then spice things up by introducing Idina Menzel by the name of \u003ca href=\"http://vanityflair.tumblr.com/image/78456987981\">Adele Dazeem\u003c/a>. A plea for Adele to release more music? An audition for a dyslexia PSA? You decide.\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/rECG1Wlb-lA'\n title='//www.youtube.com/embed/rECG1Wlb-lA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. Ellen broke Twitter and beat the Obamas' record for most retweets with this star-studded selfie. What you didn't see is Liza Minnelli desperately trying to claw her way into the frame.\u003c/p>\n\u003cfigure id=\"attachment_11352\" class=\"wp-caption aligncenter\" style=\"max-width: 452px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/liza_2840091a/\" rel=\"attachment wp-att-11352\">\u003cimg class=\"size-full wp-image-11352\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/liza_2840091a.jpg\" alt=\"liza_2840091a\" width=\"452\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/liza_2840091a.jpg 452w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/liza_2840091a-400x488.jpg 400w\" sizes=\"(max-width: 452px) 100vw, 452px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://www.telegraph.co.uk/culture/film/oscars/10672112/Oscars-2014-the-best-celebrity-selfies-on-Instagram.html\">Telegraph\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>8. Speaking of Liza and selfies, she knows her angles! And let's not even get into her inspired Manic Panic bangs or we'll be here all night.\u003c/p>\n\u003cfigure id=\"attachment_11353\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ubwdnjy51qlvwnco1_500/\" rel=\"attachment wp-att-11353\">\u003cimg class=\"size-full wp-image-11353\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ubwdnJy51qlvwnco1_500.gif\" alt=\"Photo: Tumblr\" width=\"500\" height=\"265\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://logotv.tumblr.com/post/78396370044/we-are-jealous\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>9. Ellen as Glinda could be this Halloween's Miley with foam finger!\u003c/p>\n\u003cfigure id=\"attachment_11357\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ue7672tj1qlvwnco1_500/\" rel=\"attachment wp-att-11357\">\u003cimg class=\"size-full wp-image-11357\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ue7672TJ1qlvwnco1_500.gif\" alt=\"Photo: Tumblr\" width=\"500\" height=\"265\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://logotv.tumblr.com/post/78402114530/is-ellen-telling-hollywood-to-come-out-come-out\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>10. The Oscar for Keeping It Real goes to Lupita Nyong'o!\u003c/p>\n\u003cfigure id=\"attachment_11358\" class=\"wp-caption aligncenter\" style=\"max-width: 400px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1ue30yv6x1qln00mo1_400/\" rel=\"attachment wp-att-11358\">\u003cimg class=\"size-full wp-image-11358\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1ue30Yv6x1qln00mo1_400.gif\" alt=\"Photo: Tumblr\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"logotv.tumblr.com/post/78402684793/vh1-you-did-it-girl\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>11. And just in case you're keeping track:\u003c/p>\n\u003cfigure id=\"attachment_11354\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_n1vhytquwy1r7w5w0o1_500/\" rel=\"attachment wp-att-11354\">\u003cimg class=\"size-full wp-image-11354\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_n1vhytQuWY1r7w5w0o1_500.jpg\" alt=\"Photo: Tumblr\" width=\"500\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_n1vhytQuWY1r7w5w0o1_500.jpg 500w, https://ww2.kqed.org/app/uploads/sites/12/2014/03/tumblr_n1vhytQuWY1r7w5w0o1_500-400x448.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://don-t-judge-a-blog-by-its-url.tumblr.com/post/78457887638\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11359\" class=\"wp-caption aligncenter\" style=\"max-width: 350px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/oscar-leo-5/\" rel=\"attachment wp-att-11359\">\u003cimg class=\"size-full wp-image-11359\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/oscar-leo-5.gif\" alt=\"Photo: Cookies and Sangria\" width=\"350\" height=\"199\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://cookiesandsangria.com/2013/11/12/leonardo-dicaprio-the-internet-and-you/comment-page-1/\">Cookies and Sangria\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11360\" class=\"wp-caption aligncenter\" style=\"max-width: 315px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/oscar-leo-4/\" rel=\"attachment wp-att-11360\">\u003cimg class=\"size-large wp-image-11360\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/oscar-leo-4.jpg\" alt=\"oscar-leo-4\" width=\"315\" height=\"247\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://cookiesandsangria.com/2013/11/12/leonardo-dicaprio-the-internet-and-you/comment-page-1/\">Cookies and Sangria\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11355\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://blogs.kqed.org/pop/2014/03/03/the-only-oscar-moments-worth-talking-about-2014-edition/tumblr_lt8876lgc21qmpnt6/\" rel=\"attachment wp-att-11355\">\u003cimg class=\"size-full wp-image-11355\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/03/tumblr_lt8876lGC21qmpnt6.gif\" alt=\"Photo: Tumblr\" width=\"500\" height=\"220\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca href=\"http://kyukyuuu.tumblr.com/post/11968697689/i-feel-like-the-gretchen-weiners-of-tumblr\">Tumblr\u003c/a>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">\n\u003c/p>\n\u003c/div>\u003c/p>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"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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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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